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What do you do after striking gold with your first solo album, wrapping your third season starring in a hit series and earning raves for your movie debut? If you're Selena Gomez, you dance. At least, you get the world on its feet with "A Year Without Rain." A follow-up to "Kiss & Tell," Selena’s gold-certified Hollywood Records debut CD, "A Year Without Rain" shows Selena and her band, The Scene, in a whole new light, this one pulsating, multicolored and ready for the mirrored ball.
"I really wanted something that felt good to perform, but had a techno/dance vibe," Selena says. "I wanted something that had meaning and melody, and more empowering lyrics." That’s exactly what she delivers in "A Year Without Rain." Working with top producer/songwriters like Tim James & Antonina Armato, Kevin Rudolf, Toby Gad and Jonas Jeberg, Selena kept to a more quickened tempo, exploring themes of love, freedom and the joy of living for the moment.
Selena credits the album’s neo-techno leanings to her 2010 platinum-certified single, ‘Naturally," which pointed the way for her. That track "really helped me figure out where I want to be," she says. "There’s a feeling when I perform that song that I love, so when I was going back in the studio, I had a better understanding of where I wanted to be musically."
She gets right to it with the opening track, "Round & Round," an upbeat synth-driven song about reaching the limits of indecision in love. The plaintive "A Year Without Rain" may be more subdued, but its beauty impressed Selena enough to make it the title track. "When I got the song, I went through the roof," she recalls. "Everybody has that one person they can’t live without. It was exactly what I wanted to say." That goes double for the Spanish version of the song, Selena’s first recording in that language.
Having turned 18 this year, Selena has matured since making her professional debut at age 7, but girls still wanna have fun, which is what songs like "Spotlight" "Off the Chain" and "Summer’s Not Hot" are all about. "Rock God" features none other than Katy Perry on backing vocals, while "Intuition" boasts a duet between Selena and rapper Eric Bellinger in a tricked-out double-time salute to a positive attitude.
Selena slows things down on "Ghost of You," a ravishing ballad about a breakup so rough, no amount of "living crazy loud" can crush the memory. "It’s very beautiful, very raw," Selena says of the song. "Shelly Peiken co-wrote it. She knows me, knows about everything I go through, and knows how to express it in a beautiful way."
On the flip side, Selena comes back strong with "Sick of You," a Matt Squire-written and produced track about losing a loser ("You know fairy tales don’t come true/ Not when it comes to you"). The album ends with "Live Like There’s No Tomorrow," an epic power ballad expressing the creed by which Selena has built her life and career.
A Dallas native, Selena Gomez started acting at age seven when she landed a role in the popular television series "Barney & Friends," on which was a regular for two seasons. She landed her first film role in the 2003 sci-fi action adventure film "Spy Kids 3-D: Game Over." She made her mark as an actress playing girl wizard Alex Russo in the hit Disney Channel series "Wizards of Waverly Place," which premiered in 2007 and has now completed three seasons. Selena and her cast mates won a 2009 Emmy Award for Outstanding Children’s Program.
Selena then made an indelible impression with her starring role in 2010 comedy "Ramona and Beezus." Says Selena, "I wanted something completely different from my show. All these incredible actors, being able to learn from them and get my feet wet in the film world. It was the perfect way to get into it." Next up, a starring role in "Monte Carlo," in which she plays a teen on vacation in the romantic European principality. And of course, Selena is gearing up for the fourth season of "Wizards of Waverly Place."
Selena has branched out into fashion with the premiere of her new clothing line, Dream Out Loud, sold exclusively at K-Mart. But her instinct for charity remains strong. She is a proud UNICEF ambassador, and will appear for a third year at UNICEF's Trick or Treat bash, this time to kick off UNICEF's 60th anniversary. And with the new album comes a new tour with her band.
Having her own band has been a comfort for Selena as she hits the road with "A Year Without Rain." Scene members; Ethan Roberts (Guitar), Joey Clement (Bass), Greg Garman (Drums) and Dane Forrest (Keyboard) back her on tour and help shape her emerging sound. "On my TV show we have an ensemble cast that’s like a family," she says. "If anyone’s missing, you feel it. I wanted that family feel in my music, and we definitely have that with the Scene."
That family feeling had grown to include fans around the world, each of them all in when it comes to following Selena Gomez on her amazing artistic journey. Where’s she headed? She’ll let you know when she gets there. "I’m still figuring out who I am," she says. "I love expressing that through music, and through film. I feel at this moment in my life I couldn’t be happier."
Selena Gomez took her sweet time before recording her debut album. After all, she had her hands full starring in her hit Disney Channel series "Wizards of Waverley Place," not to mention appearing in a string of movies and other TV shows. Still, music had been a core passion of hers going back to childhood. A child no more, Selena comes on strong with her Hollywood Records premiere CD, "Kiss & Tell." It is nothing less than the emancipation proclamation of a young artist with a lot to say.
TAKE ME TO HEAVEN AND BACK
I do not want to be treat as a mortal.
I want to be treat like a sexual being.
I want to be pulled across the cosmos by my hair.
I want my thighs to be parted by the milky way,
as I look into the eyes of the shocked pulsating stars.
I am quickly imploding into a black hole,
Reach for me, just briefly,
And as a rocket we shall reach the stars.
The voyeur moon is serene.
Tease my hair unto the heavens
and spread it along my breasts,
as my eyes dream into yours.
Let the shock waves of our lovemaking
fall as meteor showers.
And when we lay panting,
May the sun rise up,
to signal my entrance to heaven.
Terrific night out seeing this great band again but this time at a different venue, at Eddie's Bandroom in Moorabbin, a perfect place to see and enjoy live music with pulsating sound and illuminating lighting. Look forward to catching these guys again down the track.
What do you do after striking gold with your first solo album, wrapping your third season starring in a hit series and earning raves for your movie debut? If you're Selena Gomez, you dance. At least, you get the world on its feet with "A Year Without Rain." A follow-up to "Kiss & Tell," Selena’s gold-certified Hollywood Records debut CD, "A Year Without Rain" shows Selena and her band, The Scene, in a whole new light, this one pulsating, multicolored and ready for the mirrored ball.
"I really wanted something that felt good to perform, but had a techno/dance vibe," Selena says. "I wanted something that had meaning and melody, and more empowering lyrics." That’s exactly what she delivers in "A Year Without Rain." Working with top producer/songwriters like Tim James & Antonina Armato, Kevin Rudolf, Toby Gad and Jonas Jeberg, Selena kept to a more quickened tempo, exploring themes of love, freedom and the joy of living for the moment.
Selena credits the album’s neo-techno leanings to her 2010 platinum-certified single, ‘Naturally," which pointed the way for her. That track "really helped me figure out where I want to be," she says. "There’s a feeling when I perform that song that I love, so when I was going back in the studio, I had a better understanding of where I wanted to be musically."
She gets right to it with the opening track, "Round & Round," an upbeat synth-driven song about reaching the limits of indecision in love. The plaintive "A Year Without Rain" may be more subdued, but its beauty impressed Selena enough to make it the title track. "When I got the song, I went through the roof," she recalls. "Everybody has that one person they can’t live without. It was exactly what I wanted to say." That goes double for the Spanish version of the song, Selena’s first recording in that language.
Having turned 18 this year, Selena has matured since making her professional debut at age 7, but girls still wanna have fun, which is what songs like "Spotlight" "Off the Chain" and "Summer’s Not Hot" are all about. "Rock God" features none other than Katy Perry on backing vocals, while "Intuition" boasts a duet between Selena and rapper Eric Bellinger in a tricked-out double-time salute to a positive attitude.
Selena slows things down on "Ghost of You," a ravishing ballad about a breakup so rough, no amount of "living crazy loud" can crush the memory. "It’s very beautiful, very raw," Selena says of the song. "Shelly Peiken co-wrote it. She knows me, knows about everything I go through, and knows how to express it in a beautiful way."
On the flip side, Selena comes back strong with "Sick of You," a Matt Squire-written and produced track about losing a loser ("You know fairy tales don’t come true/ Not when it comes to you"). The album ends with "Live Like There’s No Tomorrow," an epic power ballad expressing the creed by which Selena has built her life and career.
A Dallas native, Selena Gomez started acting at age seven when she landed a role in the popular television series "Barney & Friends," on which was a regular for two seasons. She landed her first film role in the 2003 sci-fi action adventure film "Spy Kids 3-D: Game Over." She made her mark as an actress playing girl wizard Alex Russo in the hit Disney Channel series "Wizards of Waverly Place," which premiered in 2007 and has now completed three seasons. Selena and her cast mates won a 2009 Emmy Award for Outstanding Children’s Program.
Selena then made an indelible impression with her starring role in 2010 comedy "Ramona and Beezus." Says Selena, "I wanted something completely different from my show. All these incredible actors, being able to learn from them and get my feet wet in the film world. It was the perfect way to get into it." Next up, a starring role in "Monte Carlo," in which she plays a teen on vacation in the romantic European principality. And of course, Selena is gearing up for the fourth season of "Wizards of Waverly Place."
Selena has branched out into fashion with the premiere of her new clothing line, Dream Out Loud, sold exclusively at K-Mart. But her instinct for charity remains strong. She is a proud UNICEF ambassador, and will appear for a third year at UNICEF's Trick or Treat bash, this time to kick off UNICEF's 60th anniversary. And with the new album comes a new tour with her band.
Having her own band has been a comfort for Selena as she hits the road with "A Year Without Rain." Scene members; Ethan Roberts (Guitar), Joey Clement (Bass), Greg Garman (Drums) and Dane Forrest (Keyboard) back her on tour and help shape her emerging sound. "On my TV show we have an ensemble cast that’s like a family," she says. "If anyone’s missing, you feel it. I wanted that family feel in my music, and we definitely have that with the Scene."
That family feeling had grown to include fans around the world, each of them all in when it comes to following Selena Gomez on her amazing artistic journey. Where’s she headed? She’ll let you know when she gets there. "I’m still figuring out who I am," she says. "I love expressing that through music, and through film. I feel at this moment in my life I couldn’t be happier."
Selena Gomez took her sweet time before recording her debut album. After all, she had her hands full starring in her hit Disney Channel series "Wizards of Waverley Place," not to mention appearing in a string of movies and other TV shows. Still, music had been a core passion of hers going back to childhood. A child no more, Selena comes on strong with her Hollywood Records premiere CD, "Kiss & Tell." It is nothing less than the emancipation proclamation of a young artist with a lot to say.
It can be all about timing. I had just received my order of teriyaki chicken at Austin Community College's little cafe when the fire alarm started pulsating deep drones telling us to evacuate. I took my lunch outside, sat down and ate as students milled around me. Was it a fire drill? A bomb threat? I never found out, but as the "all clear" sounded and the crowd re-entered the building, Jessie pulled up on her scooter. I had to ask her to join the 100 Strangers project. She moved to Austin via New York City and had scant minutes before teaching a journalism class, so we didn't talk for long. But a quick Google search uncovered her other life as an up-and-coming Austin musician/singer/songwriter: thepleasepleaseme.com/. Thanks for posing, Jessie!
She is my 165th stranger in the Flickr challenge to shoot photos of 100 strangers: www.flickr.com/groups/100strangers/.
You can see my full set of Stranger photos (so far) here: www.flickr.com/photos/joemoconnell/sets/72157627547511612...
See More Sopwith Snipe Photos at: www.flickr.com/photos/15794235@N06/sets/72157602936593835/
See Bentley BR2 Engine Photos at: www.flickr.com/photos/15794235@N06/sets/72157635476481389/
See Our Model Engine Collection at: www.flickr.com/photos/15794235@N06/sets/72157602933346098/
ourtesy of Robert Cooper
Paul and Paula Knapp
Miniature Engineering Museum
The Future of Romanticism
The skyline stretched before them, glowing in a kaleidoscope of neon blues and golds, a pulsating organism of light and technology. The towering dome across from their terrace blinked with ads seamlessly melded with art, its design a fusion of engineering precision and opulent creativity. This was their city; they knew it as a declaration that no height was unattainable, and no boundary was unbreakable.
The man rested his hands on the table's edge, his posture deliberate, almost rehearsed. His tailored jacket was woven with subtle patterns of light, a fabric that signalled wealth and power. His face, however, betrayed none of the pride his clothing implied. Instead, his eyes lingered on the horizon, searching for something he couldn’t quite name. His mind flickered between the cold ledger of their accomplishments—networks built, markets dominated, cities shaped—and the vague dissatisfaction that had crept into his soul like a shadow. "We’ve done it all, haven’t we?" he thought, in pride and disappointment.
She looked up from her glass, her features soft but distant. Her flawless, minimalist dress glowed faintly against the ambient lights around them. It was not the kind of attire for someone bound to the past. Yet, as she met his thought, something unspoken revealed in her eyes. We are climbing the same ladder over and over again. What else is left? Her every movement was a touch of perfection — her vitality, longevity, efficiency of decision-making, and lasting beauty. When does more stop being enough?
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Keywords:
Dystopia, Utopia, Existentialism, Decay, Resilience, Transformation, Hope, Desolation, Journey, Rebirth, Solitude, Redemption, Wellness, Love, Prosperity, Perfection
-The Graben Vienna is an exclusive and pulsating shopping street in the heart of the inner city with a plague column.
The Graben traces its origin back to the old Roman encampment of Vindobona. The south-western wall of the settlement extended along the length of the present-day Graben and Naglergasse; before the wall lay a trench (Graben). This trench still stood in front of the medieval city walls.
Most of the buildings in this pedestrian area origin from the 17th and 18th century and you can find here finest traditional shops. Some of these shops have a long tradition and were already popular in the times when Austria was ruled by emperors. These are for example the porcelain factory Augarten, the court jeweler Heldwein and also the court perfumery Nägele & Strubell. In the rooms of the former court menswear store Braun you can find today a shop of H&M. The historical noble interior remained in the shop. There are also plenty of coffee houses and restaurants between all those shops. Especially in the surrounding alleys you can discover a lot of them. In the alley Dorotheergasse is the coffee house Hawelka which is open since 1939 and a well known place where you can meet some times popular artists in a really old fashioned atmosphere. If you are a gourmet you should visit the shop of Julius Meinl at the end of the Graben (corner Naglergasse). The gourmet supermarket offers exquisite Austrian and international groceries. Julius Meinl got famous because of the excellent coffee, which you can drink in the included coffee house with the nice view on the splendid boulevard. There is also a well sorted wine cellar with a wine bar in the basement.
The Graben Vienna is the whole year a good tip for a stroll. In the summer you can rest in one of the plenty available outdoor areas of the cafes and have a look at the hustle and bustle in this boulevard. In the advent season an extravagantly Christmas illumination underlines the exclusive flair of this shopping street.
Hors d'oeuvre Perile’
All in all it had been the most charming of social occasions. He congratulated himself as he watched the gorgeous young thing in the perfectly lovely green French cut satin dress swish her way up the cobblestone path, heading back to the large manor house where the party was still in full swing. He stood up from the bench, seat still warm from where she had been sitting next to him, and continued to watch as he smiled in pleasant recollection of the evening so far…..
*******************************
Préalable
He had purposefully arrived late, giving his fellow guests plenty of time to enjoy their cocktails, wine and champagne. He was delighted to see that the group had indeed unknowingly followed his plan by freely imbibing! The great hall was positively buzzing with a score of overly happy couples chatting away. In the ballroom, half as many were gaily dancing, presenting a delightful montage of crisp black tuxes and colourfully dyed, rustling gowns and long fluttering dresses. And everywhere was the sparkling of jewels, some extravagantly large, and many expensively small, flickering and sparkling merrily from various points of interest from the rather fetching figures of the many pretty females who wore them.
He looked around, pulling back his tux jackets sleeves so his wrists were free, unencumbered for when the time came to put his hands to work. It happily did not take long for that to happen.
He soon spied a group of 2 males and 3 ladies chatting merrily by the huge oak fireplace. The large fire It contained, added an entertaining crackling scene as he approached. A passing waiter held a tray of drinks in his hand, and he had snatched one off, carrying it over to the group. He stood on the fringe, listening in for a minute to acquire the lay of the land. He soon joined in, telling a joke along the lines of their topic of conversation. He made his French accent even thicker, knowing how the English Ladies seemed to swoon when he employed it. He was soon one of the group, a waiting wolf amongst the curelessly bleating, well-dressed sheep. The waiter came around again, and he had set his glass ( untouched) on an oak coffee table, and helped pass them around. As he handed one of the ladies her drink, he had tripped a little, placing his hand upon the wrist she held at her bosom to steady himself, looking her in the eyes as she took the offered drink in her other hand, concerned that he had hurt himself. He apologised profusely at his clumsiness, then stepped back as she giggling accepted. He retrieved his glass and offered a toast. As they all raised their glasses and drank, he took his leave and scurried off. He looked back, the group was still chatting away happily, and the lady he had handed a glass of champagne to, was not yet noticing that her amazingly bright emerald and pearl bracelet had vanished from her gloved wrist.
He meandered over to the Ballroom, stopping to watch the few couples lingering as they awaited the next dance. The Orchestra was tuning up, preparing for a cotillion, something he fancied, a great dance for someone of his unique abilities to make a few “acquisitions”. As the music began he watched with interest the 60 or so guests that began the dance. In the vibrantly swirling mass he managed to pick out quite a few enchanting baubles worn by the gaily bedecked females. He bided his time, and when an opening presented itself, he inserted himself and joined in with the dancers as they moved in the tempo of the spirited music switching partners frequently. In a fast few minutes of the music, as he found himself partnered with 20 or so pretty females, some of them, by design, more than once.
It was from this select few that he managed to part from their persons a total of: 4 gemmed bracelets, half as many cocktail rings, and a dazzling ruby pendent and its chain of sparkling diamond chips! The dance ended all too soon, in his opinion, for the pickings had been altogether too easy, and there were more than a few with pretty jewels he would have liked to have held in his arms. As the boke off, he accepted an even dozen feminine hands gratefully thanking him for the dance( lifting a 3rd ring in the process!)
He then left the ballroom, walking backwards as he watched over the dissembling guests for any signs of discontent. It all appeared normal with them, no one as of yet realizing that some of them had been “pickpocketed.” He stopped and retrieved his drink from a table, still watching the ballroom, scanning the exits in case he needed to make a quick retreat.
When he turned back around he almost collided with an older lady with her long hair piled up and held up by a glittering tiara, who had been standing behind him. Her still quite perky figure was fetchingly clad in a long slithering dress of deep purple silk, with a brite glossy sash of deeper purple satin wrapped around her waist and tied in the back with a smart bow held by a rhinestone clip.
On the cuff, he asked her if she was free to dance. She delightfully was, and accepting his offer, held out her gloved hand. Sitting down his glass with a flourish, he took that hand with its well ringed fingers, into his and led her off. She elegantly picked up her dress with her other hand, and as she did he had a few seconds to admire and appraise the ladies dazzling “affichage de bijoux”. The new dance was a waltze, something he excelled at. And she allowed him to lead her, dancing about with the other couples, as he gracefully twirled her around. He would have preferred a tango, for her necklace, a collar of diamonds in a lace pattern, was quite valuable. But he made do with the waltz, managing to lift her equally dazzling brooch from the front of the wide shiny purple satin sash tied around her waist. The music ended, and he kissed her hand as she curtsied, giving him the opportunity to slip a glittering cocktail ring off from one of her long fingers. He then led her off the floor, offering to go get her a drink (with the intention of not coming back) but she had other plans….
Now, as they had danced, he had half listened to her prattle on about her niece, a lonesome soul who had recently had had her engagement broken off, for his attention focused mostly on the task of acquiring his pretty partners jewels! So instead of being able to make his escape by going off for drinks, he found his arm taken by the lady in purple silk and led him off to an area set aside as a sitting lounge for the ladies (the men’s smoking chamber being upstairs). It was there that they came upon a small, lithely shaped creature with loose sheets of long ginger coloured hair falling along her shoulders and back. She was sitting by herself, drinking a cocktail, her third by the number of empty glasses sitting upon the table at her arm. She was encased in a long slinking pretty French gown of green satin that fell quite nicely along her well-endowed figure, before pooling around at the feet of her matching satin high heels.
Her Auntie introduced them, and the niece offered her hand in cheerful greeting. She didn’t seem appear that she was in despair over her broken engagement atoll, he thought as he took her gloved hand, holding down her fingers as he curtly bowed and kissed the hands glossy gloved back side. He looked down upon the niece, she was wearing a choker of diamonds around her throat, and long dangling waterfall earrings cascading down from her ears. A long diamond pin was attached to the v in the “Décolletage” of her gown. Her gloved hands were free of rings and bracelets. But still, all in all, a quite vexing package indeed!
The Aunt, meanwhile, was arranging for them to dance. The Niece did seemed coyly reluctant at first, like she was thinking of a way out of it. But when the orchestra started to tune up for the next dance, a obviously a welcomed foxtrot, He poured on the charm, and broke through her resistance. And he gallantly gave her his hand and lifted her from her seat, to the squealing delight of the lady’s aunt in the deep purple silk dress. He nodded to the Auntie as he led her niece off, his eyes traveling back to his fetching partner’s throat. The diamond choker that encircled it would be a welcomed addition to this evening’s cueillette’!
She was a brilliant dancer, surprisingly spirited and nimbly quick. Thus he was unable to find an opening to acquire the lass’s sparkling trinket that adorned her throat. So he waited for his opportunity, figuring the next dance should be a slow one. He was right on the money and invited her join him in the slow dance he had anticipated. She most willing went into his arms, giving herself up to him 100 percent. At one point she looked up into his eyes, a look that told him she was falling to his charms. He cupped his hands to her face, lifting her head so it tilted up at him, and as she sighed deeply, he stroked his fingers through her hair, while slickly, and without shame, relieving her ears of their stunningly dangling diamond earrings in the process.
He was immensely pleased with himself upon his daring acquisition, and as the music faded off, he thought that that would be the end of things, and he prepare to take his immediate leave of the premises. But she apparently had garnered other thoughts, asking him if he wished to take a stroll with her outside in the extended gardens that surrounded the sprawling old estate proper. He looked down sweetly upon her, his eyes soaking in her gorgeously sparkling necklace which still was a vex for him, and told her sweetly he would like nothing more. As he followed her wonderfully swishing figure towards the double doors leading to a cement patio, he liberated a bottle of wine and two glasses from a servant’s cart. He followed her out onto the wide patio and down the sweeping steps that led into the hedged, proper English gardens below.
She led him to an old stone bench in a quite secluded corner, and alcove almost boxed in by a thick hedgerow. He couldn’t have picked a better spot himself, and he smiled, for fortune appeared to be with him that evening, “fortune semblait être avec lui ce soir-là” ! She motioned him to sit next to her, and he smiled, opening the wine, and pouring it. Handing her a glass he slipped in next to her. He prepared to falsely lead the damsel into believing he was falling under her spell, and as she did, taking the opportunity to relive this little one of her remaining jewels!
She snuggled up against him, her quite warm figure a pleasure to experience. She started to chatter, almost nervously, definitely coyly, as he noticed the pulsating rhythm of her heart beating into his side, she was certainly excited about something. She rather impishly told him a rather delightful little tale about an antique postcard that her aunt had in the library. A youth was sitting on a bench next to a pretty girl, a book on his with the title” The Jungle Book”. He was asking the damsel if she liked Kipling? She was looking up at him mischievously, why “I don’t know, you naughty boy, I’ve never kippled!”
He chuckled at this, pulling out a handkerchief form his pocket to wipe some imagined thing off her dress. She looked down at the spot( nothing had been there) and he used the distraction to finish slipping off the necklace whose clasp he had flicked open as she had told the punch line of her story.
Placing The necklace into a vest pocket, where it rested with the some of the other jewels he had purloined earlier that evening, including this one’s earrings. He now focused on her long glittery diamond pin.
He stood and refilled their glass’s for a third time( he had been spilling most of his out in a rose bush behind the bench as they had sat). He regained his seat, placing an arm around her, and she laid her hand upon his chest, burrowing in. She was becoming quite intoxicated and he knew the time was as ripe as it was becoming short. He laid his other hand on her lap, and she shivered as he murmured some French sayings in her ear,(including his favourite ” La nuit tous les chats sont gris.”)
He took advantage of the opening and feeling upwards cupped the pin as it hung down, feeling its clasp with his long nimble fingers, he waited. At that point she looked up into his eyes and slipped her hand around his waist. It was while she did this that he popped open the clasp, and slipped off the diamonded pin from the unwary girls rather scintillating gown.
He held onto the pin behind her back as they hugged. He could still feel the deliciousness of her heart beating rapidly, and knew his was also, but not for the reason she was thinking. He now had all her jewels, and as his eyes were focused on her glittering pin that he was admiring in his hand that held it above her back, , his mind was on escape.
Finally the wine had its desired effect upon the pretty, naively innocent, niece. With a wistful sigh, she rose, straightening her gown as she elegantly made her apologies, she needed to visit the ladies parlour to powder her nose. She sheepishly asked if he would wait. He rose an told her he would wait until the end of time( or for as long as he was in her sight). She hugged him, throwing her entire squirming being behind it.
They parted and she tuned and pertly swished off, her gown delightfully moving along her figure, brightly iridescent, as she swayed her way back down the moonlit path.
He rubbed a finger along his thin moustache as he enjoyed the show she was putting on. He had entirely beguiled that one he mused. It wasn’t until she gained the porch stair way that he moved. He turned away, and made his way down the path heading off out of the gardens. Gloating over how he had managed to pluck her ripe figure of all its valuable ornaments.. His hand automatically went into his vest pocket to finger his haul. Suddenly his whole demander changed, the pocket was empty! He quickly felt along his body, all of his pockets here empty. Pipe, Pouch, silver lighter, billfold and gold pocket watch, even the ruby pin from his knotted cravat, as well as all of the ladies jewels he had been removing with such panache all evening, all were gone, all without him ever feeling a thing!
He relieved he had been picked clean, obviously by the young niece! and turning he looked back spying that said niece standing at the top of the cement patio’s stairway watching him, catching his eye, she raised a finger, scolding him like one would an errant child, before turning with a purposeful, flaunting with a swirling of her green satin gown, and disappearing inside with a an air of obviously self-pleasure. Who was this child, with fingers even more nimble than the great Arsene’ Lupin?, he thought cockily.
He raised an imaginary glass to the closing door as the last of her fluttering gown slipped through it. Checkmate on me, my lady, he thought, Smiling whimsically as he turned away and stole away into the night. But still, he could not help but wonder, was she going keep those jewels to all to herself and let him take the blame?
He turned a corner of a hedge path and stopped immediately. Staring straight ahead, in his astonishment, he thought drolly to himself, if he had to start a new meal, might as well begin with Hors d'oeuvre. For there, at the end of the path, stooping over as she smelled a rose from a bush located by an exit, was a jewelled vision of pure loveliness.
Her hair was elegantly held back by a gloved hand with a wrist and fingers sparkling with a frenzy of coloures, said moon having had just now peeked from the cloud where it had been hiding.
He walked up to her, softly on the pads of his feet. She wasn’t to know that there was now someone else on the path behind her until his hands were in position to strike….
******************
Perile watched as the nice Frenchman walked off. He had ben ever so charming, couldn’t apologize enough for starling her as he had. He had taken her hand, kissing it as he had asked her name. He than gave him hers, thanking her for the honour that was his to give it. Arsene he announced with a flourish as he bowed to her. She has shivered, how so she loved the romantic sounding French language.
He soon turned a corner and was lost out of site. Perile stood there dazed for a full 3 minutes, her mind wondering. Her satin gloved hand which she had been holding upon her ample bosom, now moved up to her throat to take care of an itch. Suddenly she froze, finding her neck bare, she looked down, her diamond and ruby pendeant was no longer dangling down the glossy front of her eal gown. She bent under the rose bush to look for it, pulling up on the lower branches, as she did, she saw with a gasp that her large gemmed cocktail ring was also gone from her index finger. It was not until sometime later that she membered it was the vey hand and finger the charming Frenchman had ever so elegantly kissed!
Last night two of pop music's superpowers came together for a pulsating night at Docklands.
Just over 60,000 fans crammed into an expanded-capacity Etihad Stadium to witness U2 360, the Irish superstar band's bold achievement in stadium rock.
But before Bono and co landed, the American hip-hop superstar Jay-Z was entrusted with opening the monster double-bill.
He provided U2 with a winning mix of pop-cultural prestige and commercial supremacy few acts could, and he undoubtedly widened the night's demographic. His wife, singer-actress Beyonce, however, was not to be seen.
Jay-Z also delivered pop hits, none better than last year's epic Empire State of Mind, which drew the night's first big singalong.
Still, much of his set was a little jarring for this rock-loving crowd and last night was unequivocally about U2.
It's not difficult to get caught up in the logistics of the U2 production - the ''claw'' is 50 metres high and carries 590 tonnes of equipment. But the stage, while vast, feels uncluttered and gives the band access to the crowd on all sides.
Almost miraculously, U2 delivers a sense of intimacy.
The sight of the four mates from Dublin, who have endured for more than 30 years together, entering the packed stadium by walking through the crowd as David Bowie's Space Oddity blasts out is genuinely thrilling. It's a nod of gratitude to fans, an acknowledgment that the quartet and their followers have stuck tight for so long.
Yet Bono was the irrepressible star last night. He used the elongated catwalks to strut, shadow box and spider dance through early parts of the set.
The U2 classics - With or Without You, I Will Follow, Where the Streets Have No Name, Sunday Bloody Sunday, Beautiful Day and One - were delivered in elaborate fashion.
Recent tracks Get On Your Boots and Magnificent were helped in part by Bono namechecking in the intro St Kilda, Richmond and Fitzroy. The gesture to Melbourne was lapped up.
City of Blinding Lights and Vertigo were also given fresh energy.
Songs regularly segued into others in almost mash-up style. Bad borrowed from All I Want Is You. And even the rain held off despite dire forecasts.
As for the sound, it was excellent to fair depending on where you were in the stadium.
''We've been doing this a while,'' Bono said. ''But we're still figuring out so much about music … Keep coming to see us, we're still pilgrims.''
He then spoke of a strong connection the band has with Melbourne and launched into I Still Haven't Found What I'm Looking For.
The band also played two new, unreleased tracks.
Both were strident efforts demonstrating that these rock veterans retain their hunger.
As if anyone at Docklands needed to be reminded last night.
Review from The Age
www.theage.com.au/entertainment/music/u2-live-in-melbourn...
2017 marks the 39th annual Carnaval San Francisco parade and festival. The Mission District transforms into an enormous celebration pulsating with dancing, drumming, live music, brilliant costumes and delicious food. The annual event attracts more than 400,000 people who come to enjoy the revelry and soak up the pageant of color and culture.
"At first when I see you cry,
yeah it makes me smile, yeah it makes my smile
At worst I feel bad for a while,
but then I just smile I go ahead and smile." -Lily Allen
I'm not feeling too well today... a little bit sick actually, so I thought I'd remind myself to smile... The party was amazing last night, but I think I'm paying for it today...
My head is pulsating right now...I'm gonna head to bed early and wake up fresh for uni tomorrow. I can't wait to catch up with your streams guys :)
Hope you guys are having a fun weekend. :o)
François Morellet
Random Distribution of 40,00 Squares (sector)
"The new art has made the principle in the foreground, that art can have only themselves to content. Thus we find in it not the idea of anything, but just the idea of art itself, from their self-content. The art is its own idea of objectivity " (Wassily Kandinsky)
Accompanied by pulsating music, projected light moves around the room and is variously reflected and deformed by hanging transparent plates.
Produced by Sigmasix - www.sigmasix.ch - this transfixing and ingenious work, was part of the Festival des cultures electroniques de Genève and was tailor made for Le Commun in Geneva.
During the early months of 2001, a new eruptive period at the Southeast Crater started off extremely gradually - a tiny lava flow began to ooze from a vent on the north-northeast flank of the Southeast Crater cone around 20 January. Veeeeeery slooooooooow emission of lava from this vent - which was informally named "Levantino" - continued for several months with little change, then gradually increased in April, and in early May some minor explosive activity - so-called spattering - accompanied the lava outflow from the "Levantino". Suddenly, on the afternoon of 9 May, the activity increased and culminated with pulsating lava fountains from the summit vent of the Southeast Crater, reminiscent of the phantastic 66 paroxysms in the year 2000. After this event, lava resumed its relatively quiet outflow from the "Levantino", often accompanied by minor spattering, and intermittent weak Strombolian explosions from the summit vent of the Southeast Crater.
In early June 2001, the activity began to show an on-off-on pattern. Lava outflow at the "Levantino" would increase and be accompanied by low lava fountains for a couple of hours, and then all activity would cease. This happened for the first time on the evening of 5 June, when the lava effusion rate increased for a few hours, and then suddenly all lava emission stopped. On the next evening, renewed vigorous lava outflow started and was accompanied by intense Strombolian activity from the summit vent of the Southeast Crater; activity again stopped on the forenoon of 7 June. A third episode occurred just after midnight on 9 June. With each of these events, the activity grew stronger; the "Levantino" now made beautiful Hawaiian-style lava fountains, whereas powerful Strombolian explosions but no true lava fountains occurred from the summit vent of the Southeast Crater. This trend continued with the fourth episode on 11 June.
For the fifth epidode I had invited a number of people, including geology students at the University of Catania, where I had finished my Ph.D. a few months earlier. I had told them to be ready to get a call in the middle of the night and drive out to a good viewing point together and watch the Greatest Show on Earth, much the same way I and a couple of friends had done during the magnificent paroxysms of the first half of 2000.
On the late evening of 12 June, lava started once more to flow from the "Levantino", and I began to call the people who had declared their interest in joining the "Etna Party"; around midnight we drove out to the "Mareneve" road above the village of Fornazzo, about 9 kilometers to the east of the Southeast Crater.
Initially, the buildup toward the paroxysm was agonizingly slow. A tiny lava flow was spilling a few hundred meters downslope from the "Levantino", and occasionally, weak Strombolian bursts were seen at the summit of the Southeast Crater. This went on, with barely perceptible fluctuations, for three hours. Often the "Levantino" seemed to shut down while activity at the summit vent increased, before the activity shifted back to the "Levantino". Finally, around 03:00 h in the morning, the "Levantino" suddenly shot jets of fluid lava gushing into the air; 10 minutes later a huge bubble of lava exploded in this vent, showering the surrounding area with huge blobs of liquid lava. Still, it took the summit vent another half hour or so to finally join in and produce huge explosions every second. The activity now increased dramatically. For the next about 30 minutes, nearly continuous Strombolian bursts from the summit vent reached 400 m high, while a continuous, brilliantly yellow and totally ash-free lava fountain shot up to 200 m high from the "Levantino".
Certainly this activity was spectacular, though it was nothing compared to the dramatic lava fountains of the previous year, which sometimes had roared to an amazing 1200 m height above the summit of the Southeast Crater, and which had split open both the northern and southern flanks of its cone during nearly every paroxysm. This photo was taken at the height of the 13 June 2001 paroxysm, with Strombolian jets rising from the summit vent of the Southeast Crater at left, a huge incandescent fountain from the "Levantino" in the lower center and lava flowing from the same vent at lower right.
Photo taken with a Canon AE1 and scanned from original Ektachrome color slide
Strokkur is a consistent geyser, erupting every few minutes. In between eruptions, however, it is a tease -- it pulsates regularly, leading a casual observer to think an eruption is imminent. This clip shows Strokkur's false starts. Cut down due to size restrictions, all these pulses occurred between two eruptions.
(Shot with a Canon Optura 50, post-processing in Windows Movie Maker.)
Just Pinned to moon daisy videos: Harder Erection Nutrition Advice Harder Erection Nutrition Advice ift.tt/21aluIj Ancient All-Natural Chinese Secret Gives 79 Year Old Man His First Rock-Hard Erection Since 1983 Now YOU Can Get Rock-Hard Erections On CommandWithout Pills Pumps Injections Or Side EffectsAnd Be A Man Of Steel In The Bedroom Every Time. Dear Friend My name is Max Miller and ED nearly destroyed my life. Ill tell you about my embarrassing (and rather shocking) story in just a moment But first if youre suffering from ED trust me Youre not alone and I totally know how you feel. The good news is that on this page Im going to share with you an unusual and ancient secret method that not only cured my ED But now gives me bulging pulsating Superman- style erections that make my wife the most satisfied woman on earth. Your age doesnt matter. Men from 21 to 88 have raved about the effectiveness of this method We also know for a fact that this secret works especially well for men who are 30 40 50 or even 60 from the thousands of testimonials weve received. It doesnt matter whether youve suffered from ED for years or whether youve recently begun to go soft (or cant get it up at all) And it doesnt matter if youve tried pills pumps or other ED treatments like that because this isnt about that Because what Im about to give you is not a treatment. Its not a temporary fix that helps ease the symptoms... What Youre About To Discover Is A Breakthrough Solution That Addresses ED At Its Core. Keep reading and Ill give you a way to permanently eliminate EDand reverse it back to your teenage years so that you go from limp noodle to Man Of Steel. Imagine the confidence surging through your veins as you instantly achieve thick hard throbbing erections that your wife will gaze upon with wide-eyed wonder... And youll be able to achieve this on command! Related search: keep harder erection harder erection last longer harder longer erection increase erection longevity harder erection which lasts harder erection after losing weight increase libido erection increase longer erection improve libido erection harder male erection better erection male harder erection without medication improve my erection improve morning erection increase morning erection improve male erection naturally increase male erection foods harder erection nutrition harder erection naturaly in hindi increase erection naturally improve erection naturally better erection naturally improve erection natural ways increase erection naturally in hindi better erection on empty stomach increase of erection increase erection power improve erection problems improve erection quality better erection quality improve erection quality naturally get harder erection quickly harder erection secrets increase erection strength increase erection strength exercises increase erection size naturally better erection standing up increase erection size safely and naturally improve erection strength naturally harder erection tonight harder erection techniques harder erection tricks erection harder than normal increase erection time increase erection time naturally increase erection time length better erection techniques harder erection uk how to improve your erection erection harder than usual better erection vitamins improve erection vitamins harder erection without pills harder erection when standing improve your erection improve your erection naturally improve your erection strength harder erection after 40 www.youtube.com/channel/UC9FNvFSGn_y2KTD4LINVXDQ youtu.be/zbBd9AwvHLU youtu.be/tpnWXOeAmlY youtu.be/Z7C9j03ET78 youtu.be/3838Fibah10 youtu.be/syyD9Q5NXrg ift.tt/1XmVOtt
Pixel VGA, version 1 (Floor Cluster) - Garnet Hertz
Two dozen old computer monitors occupy the center of a gallery floor in a cluster facing the wall. Each screen is controlled with custom electronics to create pulsating and strobing patterns, casting a colored wash across the darkened gallery.
Dimensions: Variable (approx 3m x 3m). VGA monitors, custom electronics. 2011.
More project information: conceptlab.com/pixel/
What do you do after striking gold with your first solo album, wrapping your third season starring in a hit series and earning raves for your movie debut? If you're Selena Gomez, you dance. At least, you get the world on its feet with "A Year Without Rain." A follow-up to "Kiss & Tell," Selena’s gold-certified Hollywood Records debut CD, "A Year Without Rain" shows Selena and her band, The Scene, in a whole new light, this one pulsating, multicolored and ready for the mirrored ball.
"I really wanted something that felt good to perform, but had a techno/dance vibe," Selena says. "I wanted something that had meaning and melody, and more empowering lyrics." That’s exactly what she delivers in "A Year Without Rain." Working with top producer/songwriters like Tim James & Antonina Armato, Kevin Rudolf, Toby Gad and Jonas Jeberg, Selena kept to a more quickened tempo, exploring themes of love, freedom and the joy of living for the moment.
Selena credits the album’s neo-techno leanings to her 2010 platinum-certified single, ‘Naturally," which pointed the way for her. That track "really helped me figure out where I want to be," she says. "There’s a feeling when I perform that song that I love, so when I was going back in the studio, I had a better understanding of where I wanted to be musically."
She gets right to it with the opening track, "Round & Round," an upbeat synth-driven song about reaching the limits of indecision in love. The plaintive "A Year Without Rain" may be more subdued, but its beauty impressed Selena enough to make it the title track. "When I got the song, I went through the roof," she recalls. "Everybody has that one person they can’t live without. It was exactly what I wanted to say." That goes double for the Spanish version of the song, Selena’s first recording in that language.
Having turned 18 this year, Selena has matured since making her professional debut at age 7, but girls still wanna have fun, which is what songs like "Spotlight" "Off the Chain" and "Summer’s Not Hot" are all about. "Rock God" features none other than Katy Perry on backing vocals, while "Intuition" boasts a duet between Selena and rapper Eric Bellinger in a tricked-out double-time salute to a positive attitude.
Selena slows things down on "Ghost of You," a ravishing ballad about a breakup so rough, no amount of "living crazy loud" can crush the memory. "It’s very beautiful, very raw," Selena says of the song. "Shelly Peiken co-wrote it. She knows me, knows about everything I go through, and knows how to express it in a beautiful way."
On the flip side, Selena comes back strong with "Sick of You," a Matt Squire-written and produced track about losing a loser ("You know fairy tales don’t come true/ Not when it comes to you"). The album ends with "Live Like There’s No Tomorrow," an epic power ballad expressing the creed by which Selena has built her life and career.
A Dallas native, Selena Gomez started acting at age seven when she landed a role in the popular television series "Barney & Friends," on which was a regular for two seasons. She landed her first film role in the 2003 sci-fi action adventure film "Spy Kids 3-D: Game Over." She made her mark as an actress playing girl wizard Alex Russo in the hit Disney Channel series "Wizards of Waverly Place," which premiered in 2007 and has now completed three seasons. Selena and her cast mates won a 2009 Emmy Award for Outstanding Children’s Program.
Selena then made an indelible impression with her starring role in 2010 comedy "Ramona and Beezus." Says Selena, "I wanted something completely different from my show. All these incredible actors, being able to learn from them and get my feet wet in the film world. It was the perfect way to get into it." Next up, a starring role in "Monte Carlo," in which she plays a teen on vacation in the romantic European principality. And of course, Selena is gearing up for the fourth season of "Wizards of Waverly Place."
Selena has branched out into fashion with the premiere of her new clothing line, Dream Out Loud, sold exclusively at K-Mart. But her instinct for charity remains strong. She is a proud UNICEF ambassador, and will appear for a third year at UNICEF's Trick or Treat bash, this time to kick off UNICEF's 60th anniversary. And with the new album comes a new tour with her band.
Having her own band has been a comfort for Selena as she hits the road with "A Year Without Rain." Scene members; Ethan Roberts (Guitar), Joey Clement (Bass), Greg Garman (Drums) and Dane Forrest (Keyboard) back her on tour and help shape her emerging sound. "On my TV show we have an ensemble cast that’s like a family," she says. "If anyone’s missing, you feel it. I wanted that family feel in my music, and we definitely have that with the Scene."
That family feeling had grown to include fans around the world, each of them all in when it comes to following Selena Gomez on her amazing artistic journey. Where’s she headed? She’ll let you know when she gets there. "I’m still figuring out who I am," she says. "I love expressing that through music, and through film. I feel at this moment in my life I couldn’t be happier."
Selena Gomez took her sweet time before recording her debut album. After all, she had her hands full starring in her hit Disney Channel series "Wizards of Waverley Place," not to mention appearing in a string of movies and other TV shows. Still, music had been a core passion of hers going back to childhood. A child no more, Selena comes on strong with her Hollywood Records premiere CD, "Kiss & Tell." It is nothing less than the emancipation proclamation of a young artist with a lot to say.
In the Swiss Alps near the Italian border is a small valley town called Lostallo. For the 5th summer in a row Shankra festival made this place its home for a goa-psytrance festival.
Video from 2017 youtu.be/sGJAhJp605k
Downloads on Flickr are free for fiends & followers but do tell the people where you got the picture.
Having started their FA Cup run at Peterborough Sports back in September Stourbridge finally bowed out with their heads held high aftyer a pulsating tie at a packed Adams Park
Last night two of pop music's superpowers came together for a pulsating night at Docklands.
Just over 60,000 fans crammed into an expanded-capacity Etihad Stadium to witness U2 360, the Irish superstar band's bold achievement in stadium rock.
But before Bono and co landed, the American hip-hop superstar Jay-Z was entrusted with opening the monster double-bill.
He provided U2 with a winning mix of pop-cultural prestige and commercial supremacy few acts could, and he undoubtedly widened the night's demographic. His wife, singer-actress Beyonce, however, was not to be seen.
Jay-Z also delivered pop hits, none better than last year's epic Empire State of Mind, which drew the night's first big singalong.
Still, much of his set was a little jarring for this rock-loving crowd and last night was unequivocally about U2.
It's not difficult to get caught up in the logistics of the U2 production - the ''claw'' is 50 metres high and carries 590 tonnes of equipment. But the stage, while vast, feels uncluttered and gives the band access to the crowd on all sides.
Almost miraculously, U2 delivers a sense of intimacy.
The sight of the four mates from Dublin, who have endured for more than 30 years together, entering the packed stadium by walking through the crowd as David Bowie's Space Oddity blasts out is genuinely thrilling. It's a nod of gratitude to fans, an acknowledgment that the quartet and their followers have stuck tight for so long.
Yet Bono was the irrepressible star last night. He used the elongated catwalks to strut, shadow box and spider dance through early parts of the set.
The U2 classics - With or Without You, I Will Follow, Where the Streets Have No Name, Sunday Bloody Sunday, Beautiful Day and One - were delivered in elaborate fashion.
Recent tracks Get On Your Boots and Magnificent were helped in part by Bono namechecking in the intro St Kilda, Richmond and Fitzroy. The gesture to Melbourne was lapped up.
City of Blinding Lights and Vertigo were also given fresh energy.
Songs regularly segued into others in almost mash-up style. Bad borrowed from All I Want Is You. And even the rain held off despite dire forecasts.
As for the sound, it was excellent to fair depending on where you were in the stadium.
''We've been doing this a while,'' Bono said. ''But we're still figuring out so much about music … Keep coming to see us, we're still pilgrims.''
He then spoke of a strong connection the band has with Melbourne and launched into I Still Haven't Found What I'm Looking For.
The band also played two new, unreleased tracks.
Both were strident efforts demonstrating that these rock veterans retain their hunger.
As if anyone at Docklands needed to be reminded last night.
Review from The Age
www.theage.com.au/entertainment/music/u2-live-in-melbourn...
Arguably the centerpiece of the show: at left, the rapidly pulsating, color-changing Looking Through Pixel Forest (2016); at right, in rotation, 2014's Mercy Garden and Worry Will Vanish Horizon.
From the retrospective show Pipilotti Rist: Pixel Forest at the New Museum. Massimiliano Gioni, curator; Margot Norton, associate curator; Helga Christoffersen, assistant curator.
Last night two of pop music's superpowers came together for a pulsating night at Docklands.
Just over 60,000 fans crammed into an expanded-capacity Etihad Stadium to witness U2 360, the Irish superstar band's bold achievement in stadium rock.
But before Bono and co landed, the American hip-hop superstar Jay-Z was entrusted with opening the monster double-bill.
He provided U2 with a winning mix of pop-cultural prestige and commercial supremacy few acts could, and he undoubtedly widened the night's demographic. His wife, singer-actress Beyonce, however, was not to be seen.
Jay-Z also delivered pop hits, none better than last year's epic Empire State of Mind, which drew the night's first big singalong.
Still, much of his set was a little jarring for this rock-loving crowd and last night was unequivocally about U2.
It's not difficult to get caught up in the logistics of the U2 production - the ''claw'' is 50 metres high and carries 590 tonnes of equipment. But the stage, while vast, feels uncluttered and gives the band access to the crowd on all sides.
Almost miraculously, U2 delivers a sense of intimacy.
The sight of the four mates from Dublin, who have endured for more than 30 years together, entering the packed stadium by walking through the crowd as David Bowie's Space Oddity blasts out is genuinely thrilling. It's a nod of gratitude to fans, an acknowledgment that the quartet and their followers have stuck tight for so long.
Yet Bono was the irrepressible star last night. He used the elongated catwalks to strut, shadow box and spider dance through early parts of the set.
The U2 classics - With or Without You, I Will Follow, Where the Streets Have No Name, Sunday Bloody Sunday, Beautiful Day and One - were delivered in elaborate fashion.
Recent tracks Get On Your Boots and Magnificent were helped in part by Bono namechecking in the intro St Kilda, Richmond and Fitzroy. The gesture to Melbourne was lapped up.
City of Blinding Lights and Vertigo were also given fresh energy.
Songs regularly segued into others in almost mash-up style. Bad borrowed from All I Want Is You. And even the rain held off despite dire forecasts.
As for the sound, it was excellent to fair depending on where you were in the stadium.
''We've been doing this a while,'' Bono said. ''But we're still figuring out so much about music … Keep coming to see us, we're still pilgrims.''
He then spoke of a strong connection the band has with Melbourne and launched into I Still Haven't Found What I'm Looking For.
The band also played two new, unreleased tracks.
Both were strident efforts demonstrating that these rock veterans retain their hunger.
As if anyone at Docklands needed to be reminded last night.
Review from The Age
www.theage.com.au/entertainment/music/u2-live-in-melbourn...
Translucent greyish white body with many blotches of brown and a few opaque white flecks. Scattering of small white flecks on the cerata.
Length 3 mm. Menai Strait, Wales, March 2011.
Full SPECIES DESCRIPTION BELOW
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
PDF available at www.researchgate.net/publication/363701020_Eubranchus_exi...
Eubranchus exiguus (Alder & Hancock, 1848)
Current taxonomy; World Register of Marine Species (WoRMS) www.marinespecies.org/aphia.php?p=taxdetails&id=139765
Synonyms: Eolis exigua Alder & Hancock, 1848.
GLOSSARY BELOW
Description
Frequently, the body of breeding adults is 5 or 6 mm long, sometimes growing to a usual maximum of 10 mm. It is translucent greyish white with many speckles and blotches of brown fig. 01 flic.kr/p/2nMd28v or olive-green fig. 02 flic.kr/p/2nM7wzk surface pigment. There may be a few or many small opaque white spots fig. 03 flic.kr/p/2nMevnz , but no extensive areas of white. A small, black, interior eye behind each rhinophore fig. 04 flic.kr/p/2nMckow is often only faintly visible fig. 03 flic.kr/p/2nMevnz .
There are usually four or five, exceptionally seven, groups of cerata along each side of the body fig. 04 flic.kr/p/2nMckow . Each group usually has one large ceras, occasionally with one or two smaller ones. Some have very few cerata and a much exposed dorsum because of loss or lack of development fig. 05 flic.kr/p/2nMevn4 . The cerata are an urn-shape fig. 04 flic.kr/p/2nMckow which frequently pulsates expanding like a balloon fig. 06 flic.kr/p/2nMevmC and then contracting. The ceratal surface is smooth; it can bulge but never has nodular tubercles (Thompson & Brown, 1984). The apex tapers abruptly from a broad diameter to a nipple-like point. The integument of the cerata is transparent, colourless revealing the buff fig. 07 flic.kr/p/2nMdvKJ , peach fig. 06 flic.kr/p/2nMevmC , pale brown or red fig. 05 flic.kr/p/2nMevn4 internal digestive gland. The gland is much narrower than an inflated ceras fig. 06 flic.kr/p/2nMevmC . The ceratal integument has a subapical band of red, brown and/or gold and, immediately below it, a band of opaque white which tends to run into the upper band fig. 08 flic.kr/p/2nM7wxX . The two bands conceal the cnidosac within. The small extreme tip of the cerata is translucent whitish and occasionally reveals the top of the white cnidosac fig. 09 flic.kr/p/2nMevkA , and there may be a translucent whitish zone below the opaque white zone above the top of the digestive gland fig. 08 flic.kr/p/2nM7wxX . Further down the cerata there are two or three brownish or olive encircling bands fig. 09 flic.kr/p/2nMevkA which may be reduced to separated blotches fig. 04 flic.kr/p/2nMckow . The cerata often have a scattering of small white flecks fig. 01 flic.kr/p/2nMd28v , which may predominate on specimens less than 2 mm long fig. 07 flic.kr/p/2nMdvKJ .
The smooth, translucent whitish rhinophores have an opaque white subapical band and one fig. 10 flic.kr/p/2nM7wxm or two fig. 02 flic.kr/p/2nM7wzk brown bands.
The head has oral tentacles about half the length of the rhinophores with similar, but often less distinct, bands fig. 10 flic.kr/p/2nM7wxm . Ventrally the head has large outer lips which can protrude well in front of the foot fig. 08 flic.kr/p/2nM7wxX & fig. 11 flic.kr/p/2nMckmh .
The narrow foot is slightly wider at the truncated anterior fig. 08 flic.kr/p/2nM7wxX & fig. 11 flic.kr/p/2nMckmh , which has no propodial tentacles or lobes. The metapodium extends only a short distance beyond the posterior cerata fig. 07 flic.kr/p/2nMdvKJ . The sole is translucent white, edged by the brown or olive of the body.
The hermaphrodite genital aperture is below the posterior of the first group of cerata on the right fig. 03 flic.kr/p/2nMevnz & fig. 12 flic.kr/p/2nM7wwK , and sometimes has the needle-like penis protruding fig. 13 flic.kr/p/2nMdVTp . The white spheroid ovotestes are few in number and large relative to the body size. They may be visible through the sole fig. 12 flic.kr/p/2nM7wwK but pigment usually obscures the view laterally and dorsally.
Key identification features
Eubranchus exiguus
1) Very small, usually less than 10 mm long, frequently 4 – 6 mm.
2) Sparse urn shaped cerata fig. 04 flic.kr/p/2nMckow able to expand balloon-like fig. 06 flic.kr/p/2nMevmC , surface lacks nodular tubercles.
3) Olive or brown blotches on body, no zigzag digestive gland fig. 07 flic.kr/p/2nMdvKJ .
4) Probably common, but overlooked, all round Britain and Ireland; often present with T. tergipes. species.nbnatlas.org/species/NBNSYS0000175214
Similar species
Tergipes tergipes (Forsskål, 1775) fig. 14 flic.kr/p/2nMdvJB .
1) Very small, usual maximum 8 mm frequently less than 6 mm,.
2) Smooth slender cerata arranged singly along each side; their surfaces lack nodular tubercles.
3) Brown digestive gland zigzags between all cerata, except anterior one on right.
4) Common, but overlooked, all round Britain and Ireland; often present with E. exiguus. species.nbnatlas.org/species/NHMSYS0021056159
Capellinia doriae (Trinchese, 1874)
1) Small, maximum length 12 mm.
2) Up to seven rows of cerata each side; five or six, occasionally eight cerata per row, surface has two or three rings of white, little-globe tipped tubercles; ‘globetti bianchi’ (Trinchese, 1874) fig. 15 flic.kr/p/2nMeviS . Small juveniles have single cerata and weak tubercles but may show truncated cones, ‘coni tronchi’, in cerata fig. 16 flic.kr/p/2nM7wuA .
3) Olive or brown blotches on body, no zigzag digestive gland fig. 17 flic.kr/p/2nM7wre .
4) Mediterranean and Atlantic Europe with scattered records around Britain and Ireland. NBN UK map species.nbnatlas.org/species/NHMSYS0021324481
Eubranchus rupium (Møller, 1842) fig. 18 flic.kr/p/2nM7wqN
1) usually about 7 mm long, maximum about 10 mm.
2) Up to about twelve cerata, usually arranged singly, on each side. Cerata have a variable swelling near the mid-point fig. 19 flic.kr/p/2nMdvDm , but the surface lacks ‘globetti bianchi’ (white. little-globe tipped tubercles).
3) Small, orange-brown spots scattered over the body and cerata, with a distinct or faint, zigzag, green fig. 18 flic.kr/p/2nM7wqN , brown fig. 20 flic.kr/p/2nM7wqc or red fig. 21 flic.kr/p/2nM7wpR digestive gland between the cerata in the posterior half of the dorsum. In the anterior half, the digestive gland is fragmented and does not cross from side to side.
4) A northern species found in Scandinavia, Netherlands and north-east North America, with rare records in northern Britain and Ireland.
GBIF map www.gbif.org/species/4360230
Eubranchus vittatus> (Alder & Hancock, 1842)
1) Up to 29 mm long.
2) Up to 10 rows of smooth, slender cerata each side; about 10 cerata per row; their surfaces lack nodular tubercles fig. 22 flic.kr/p/2nM7wod .
3) Olive or brown blotches on body, no zigzag digestive gland fig. 23 flic.kr/p/2nMdVHE .
4) Widespread on British coasts, except North Sea species.nbnatlas.org/species/NBNSYS0000175218#tab_mapView
E. cingulatus (Alder & Hancock, 1847, fig. 24 flic.kr/p/2nM7wk2 ) was accepted as a valid species by Thompson & Brown (1984), but it is now regarded by WoRMS as a synonym of E. vittatus. Thompson and Brown (1984) wrote, “Records of this species are chaotic because of confusion with E. doriae. - - - Thompson & Brown (1976) and Schmekel and Portmann (1982) have all published illustrations of E. doriae incorrectly labelled as E. cingulatus”.
Habits and ecology
E. exiguus lives on the lower shore and sublittorally to 40 m. It is found on hydroids, especially Obelia dichotoma growing on stones and O. geniculata on Laminaria fronds, and on many other hydroids on piers, floating structures and ships. It favours shores with moderate wave exposure or shelter, including estuaries fig. 25 flic.kr/p/2nM7wiZ , and salinity down to 6‰ in the outer Baltic (Swennen, 1961).
It is a simultaneous hermaphrodite. Ovotestes and penis may be developed by the time E. exiguus is 2 mm long fig. 12 flic.kr/p/2nM7wwK & fig. 13 flic.kr/p/2nMdVTp . Kidney-shape transparent spawn capsules fig. 26 flic.kr/p/2nM7waT , each containing about 30 white ova, are laid from spring to late summer in Britain and Ireland. Spawn masses on hydroids are easier to detect and more numerous than adults, but difficult to distinguish from spawn of T. tergipes. Embryology and development are uncertain because of confusion with other species. It probably has a veliger stage and several generations each year (Miller, 1958).
Distribution and status
E. exiguus is recorded from the White Sea and Faeroe to the outer Baltic, western Europe and Mediterranean, and on North American Atlantic coasts www.gbif.org/species/2291727 . Densities of 200 /m² have been recorded in the Netherlands (Swennen, 1959). There are scattered records all round Britain and Ireland; it is probably common but overlooked as its small size requires searching of hydroids under magnification. UK map NBN species.nbnatlas.org/species/NBNSYS0000175214
Acknowledgements
For use of images I gratefully thank Glenn Biscop, Klaus Kevin Kristensen, Heine Jensen, Antoni Lopez-Arenas, Tamsyn Mann, Poul Rasmussen and Fabio Vitale. I thank Lucy Kay and Paul Brazier for specimens to photograph.
References and links
Alder, J. & Hancock, A. 1845-1855. A monograph of the British nudibranchiate mollusca. London, Ray Society. Family 3 Plate 37 www.biodiversitylibrary.org/item/131598#page/436/mode/1up
Gould, A. A. 1870. Report on the Invertebrata of Massachusetts, published agreeably to an order of the legislature. Second edition, comprising the Mollusca. Boston, Wright & Binney. [Eubranchus rupium as Aeolis despecta p. 248] at www.biodiversitylibrary.org/item/22325#page/262/mode/1up and Plate XVI figs. 222-225 at www.biodiversitylibrary.org/item/22325#page/541/mode/1up
Lopez-Arenas, A. Eubranchus doriae [in] Bitxos del Mediterrani [Accessed 17 September 2022]. www.tonitofa.com/arxius/454
McDonald, G. Eubranchus rupium (Møller, 1842) Intertidal Invertebrates of the Monterey Bay Area, California. [Accessed 10 September 2022]
people.ucsc.edu/~mcduck/DreamWeaver/Mollusca/Nudibranchs/...
Miller, M.C. 1958. Studies on the nudibranchiate Mollusca of the Isle of Man. PhD Thesis, University of Liverpool.
Møller, H. P. C. (1842). Index Molluscorum Groenlandiae. Naturhistorisk Tidsskrift. 4: 76-97 [Copenhagen] [ Eubranchus rupium as Tergipes rupium p. 78]
www.biodiversitylibrary.org/page/2322910#page/86/mode/1up
Nunn, J. Eubranchus doriae Northern Ireland Priority Species. [Accessed 10 September 2022]. www.habitas.org.uk/priority/species.asp?item=639
Rudman, W.B., 2003 Eubranchus rupium (Møller, 1842). [In] Sea Slug Forum. Australian Museum, Sydney. www.seaslugforum.net/find/eubrrupi
Swennen, C. 1959. The Netherlands coastal waters as an environment for Nudibranchia. Basteria 23: 56-62.
Swennen, C. 1961. Data of distribution, reproduction and ecology of the nudibranchiate molluscs occurring in the Netherlands. Netherlands J. Sea Res. 1: 191-240.
Thompson, T.E. & Brown, G.H. 1976. British opisthobranch molluscs. London, Linnean Society and Academic Press.
Thompson, T.E. & Brown, G.H. 1984. Biology of opisthobranch molluscs 2. London, Ray Society.
Trinchese, S. 1874. Descrizioni di alcuni nuovi Eolididae del porto di Genova. Memorie della Reale Accademia delle Scienze dell' Istituto di Bologna. 3 (4): 197-203., biodiversitylibrary.org/page/39043163 Capellinia doriae
description on p. 202.
Vitale, F. Capellinia doriae Trinchese, 1874, [in] Heterobranchia della penisola del Salento [Accessed 17 September, 2022]
www.salentosommerso.it/pp_nudibranchia/Capellinia%20doria...
Glossary
cerata = (sing. ceras) lobes on dorsum of Fionoidea and some other seaslugs.
cnidocytes = explosive stinging cells of Cnidaria (hydroids, sea anemones, jelly fish).
cnidosac = storage capsule at tips of cerata of Fionoidea for ingested unexploded cnidocytes.
digestive gland = organ which acts like liver and pancreas in mammals to absorb food.
Fionoidea = superfamily of cerata-bearing sea slugs.
LWST = low water spring tide; two periods of a few days each month when tide falls lowest.
metapodium = hind portion of the foot. (adj. metapodial).
ovotestis = (pl. ovotestes) hermaphrodite organ serving as both ovary and testis.
propodium = anterior portion of gastropod foot. (adj. propodial).
rhinophores = chemo-receptor tentacles on top of head of nudibranch.
veliger = shelled larva of marine gastropod which moves by action of cilia on a velum (bilobed flap). Stage may be passed in plankton or within liquid-filled egg-capsule.
Lobby Card (11”x14”)
Queen Of Blood, 1966
(aka Planet of Blood)
The 60s saw quite a few foreign sci-fi dubbed into english, with new english-speaking actor footage inserted. Queen of Blood (QoB) is a bolder and more expansive example of that sub-genre. While others stayed fairly true to their original stories, Curtis Harrington (writer and director) turned the original, Mechte Navstrechu, on its head. Much of the first half of QoB is made out of footage from the 1962 original. The second half of QoB is almost all new footage starring John Saxon, Basil Rathbone, Judi Meredith and Dennis Hopper. Harrington turned a sentimental soviet sci-fi romantic piece into a moody sci-fi horror story.
Synopsis
See the original plot synopsis here. Briefly, signals are received on earth from an alien spaceship on its way to earth. It crashes on Mars for unknown reasons. Earth sends one team of astronauts to mount a rescue. After that team encounters trouble en route and is low on fuel, a second ship is sent to help out. Turns out there were no survivors on the main alien ship. An escape pod is found on Phobos, with an alien woman still barely alive. They all regroup and take her aboard their ship for the trip to earth. On the way, she regains consciousness, but cannot speak. She does not eat, but has strangely hypnotic eyes. She feeds on Paul, drinking his blood. He is found dead the next day. Anders argues that she should not be killed, but studied on earth. She gets him the next night. Allan ties her up, but that next night, she uses her heat vision to burn the ropes. She is feeding on Allan, but Laura interrupts her. In a mild scuffle, Laura scratches the alien, who runs screaming. Allan revives and finds the alien dead. She bled to death (green blood). As they land on earth, Laura discovers dozens of pulsating eggs hidden around in the ship. Dr. Farraday wants them saved for study. Fade to black, The End
Laungton's Nightmare -- In the original soviet movie, the token westerner, Dr. Laungton, is derided for his worry that first contact with aliens might be dangerous. QoB plays out perfectly as the alternate ending as imagined by Laungton. Ironically, QoB reinforces the soviet writers' assertion that westerners are fearful pessimists. Harrington takes their romantically optimistic vision (MN) and turns it into a grim horror piece.
An ethical question raised during QoB, (a couple times) is whether the guilty party (the alien "queen") should be put to death for her "crimes" or preserved for science to study. Allan (John Saxon) espouses the cowboy justice point of view in wanting her killed for her first crime. Anders and later Dr. Farraday argue she is too valuable to science to kill. Anders even suggests that her survival is so important that he, Laura and Allan should give blood donations to the queen to keep her (a) from getting so hungry she kills them and (b) to keep her alive for study on earth. Science demanded it's "pound of flesh".
Foundations of Alien -- QoB is one of the movies cited as a precursor to the 80s blockbuster Alien. Great things seldom come totally out of the blue, but draw upon foundations set by others. It! Terror from Beyond Space ('58) featured the crew trapped in a ship with a killer alien theme. QoB repeats this, but with the feeding-upon-them twist. Of course, the other famous It was The Thing ('51) in which the alien used human blood to nourish its eggs. QoB draws on this too. Night of the Blood Beast ('58) featured an alien which implants embryonic "young" into the body of a living human host. QoB adds the eggs while it repeats the monster-onboard device.
While most of the first half of QoB reuses footage from Mechte Navstrechu, several model scenes (rockets, mostly) are used from Nebo Zovyot. Corman acquired the rights to both, so used them like a clip library. Viewers will note that the moon base "Lunar 7" is also reused from Corman/Harrington's prior re-edit movie Voyage to the Prehistoric Planet ('65).
Unlike most movies in the re-edit sub-genre, There is almost no dubbing. Only one TV announcer is kept and dubbed, as well as one small scene where a scientist talks via a videophone to an assistant. Other than that, all the original Russian actors are cut out Their roles are roughly filled with english-speaking stars. Distant shots of the Russians in their space suits are kept. The Americans are given roughly similar (though cheaper looking) spacesuits. The result was pretty well done, such that someone not familiar with the original would not notice any discontinuity.
QoB is actually a pretty well done mash-up of prior soviet sci-fi footage and new footage. While its story line is entirely new, it is well presented and develops a fair bit of atmosphere.
The film stars John Saxon, Basil Rathbone, Judi Meredith (The Night Walker), Dennis Hopper (Night Tide), Florence Marly, Robert Boon, Don Eitner and features a cameo appearance by horror personality Forrest J Ackerman.
A very weak aurora, coupled with light pollution from Lerwick harbour, makes this a little underwhelming. Nevertheless, it's definitely aurora!
A tigers win!!
A review taken from somewhere...
Leicester retained the Guinness Premiership crown with a pulsating 33-27 victory over Saracens at Twickenham on Saturday.
A try from replacement centre Dan Hipkiss three minutes from the end of a thrilling encounter propelled the Tigers to their seventh Premiership success and an unprecedented ninth English League title. Tries from centre Matt Smith and scrum-half Ben Youngs put them in control in a breathless first half but it was the boot of fly-half Toby Flood that guided them home with 18 points courtesy of four conversions and three penalties.
Two tries from captain Ernst Joubert and the boot of No.10 Glen Jackson kept Sarries in touch and a penalty five minutes from time put them within reach of a famous victory. But Leicester showed their class to conjure a late turnaround with a dramatic lineout steal from lock Geoff Parling finally snuffing out Saracens' brave challenge.
Saracens battled valiantly despite being stripped of the services of director of rugby Brendan Venter who is serving a touchline ban, but they had little answer to Leicester's powerful second half display that decided the contest. The Tigers' forwards took control after the break and Flood took full advantage as Richard Cockerill's side underlined their status as English rugby's dominant force.
Saracens restored club captain Steve Borthwick to their line-up for the first time since March following his recovery from a knee injury, but his long-term deputy Joubert remained as skipper. Leicester were unchanged from the team that accounted for semi-final opponents Bath, a side highlighted by England flanker Lewis Moody making his final appearance after 14 seasons at Tigers before joining Bath next season.
Saracens opened the scores with a Jackson penalty after Leicester loose-head Marcus Ayerza was penalised at an early scrum but the Tigers were soon back on level terms with Flood pouncing on some indiscipline from Jacques Burger at the breakdown.
Saracens continued to pepper the Leicester defence with the boot of scrum-half Neil de Kock probing for gaps and that pressure drew the next penalty from the Tigers - this time for offside - that Jackson slotted with ease to give his side the lead once more.
Back came Leicester with Youngs pouncing on a loose ball before sparking a lively break that was let down by some poor handling. Prop Martin Castrogiovanni and No.8 Jordan Crane then combined well down the shortside to create an opening that was snuffed out by a big tackle from Sarries lock Hugh Vyvyan on Tigers flanker Tom Croft. But Leicester were not to be denied with a powerful run from winger Alesana Tuilagi laying the platform for a slick move that put Smith away out wide and the centre showed great pace to notch the first try of the game.
Saracens responded with a well-worked try of their own with Jackson stretching the Tigers' defence before feeding Burger, who found his captain Joubert. The No.8 had the strength to hold off the tackle of Leicester fullback Geordan Murphy and touch down in the corner. Jackson could not add the difficult conversion but they had the lead - but not for long.
The scoreboard continued to tick over with Flood adding his second penalty just a minute or so later when Sarries were again penalised for not rolling away at the breakdown. The tit-for-tat exchange continued with Leicester the next to feel the wrath of referee Dave Pearson and as they pondered their growing penalty count, Jackson stroked over his third penalty.
Some excellent close handling from Leicester then had Saracens scrambling in defence with Crane, centre Anthony Allen and Castrogiovanni all involved before a neat step from Youngs took carried him into space and over for the try under the posts. Saracens claimed that referee Pearson had obstructed play in the build-up but their protests were dismissed as Flood made no mistake with the simple conversion to give the Tigers a little breathing room.
The impressive pace of the game in the opening period appeared to have taken its toll as the first half drew to a close although the lively-looking Goode did his best to conjure the next score.
Borthwick made way early in the second half for Mouritz Botha as the forwards came to the fore and a big scrum from the Tigers saw Saracens penalised and Castrogiovanni saluted the crowd in celebration as Flood extended his side's lead from the kicking tee.
But as was the pattern of the game, Saracens offered an immediate reply with Joubert grabbing his second try. Centre Adam Powell drew two tacklers in midfield and then found flanker Andy Saull who came inside on a great line before feeding Joubert who had the pace to reach the line ahead of a helpless Leicester defence. Jackson's conversion made it a two-point game but a late challenge from Saracens winger Michael Tagicakibau on Murphy moments later offered Flood the chance to add to his tally. But his effort was short and wide which was perhaps just after replays appeared to suggest Pearson had got it wrong. There was more woe for Saracens at the next scrum and this time there was no mistake from Flood.
The Tigers continued to control proceedings at scrum time but Flood was unable to make Saracens pay for their shortcomings as the game reached the hour mark - pushing his penalty wide of the posts. Jackson was also off-target from long-range a couple of minutes later after Parling strayed off side.
A rare mistake from Murphy under the high ball then gifted Saracens possession in the Tigers' half and an excellent grubber from centre Brad Barritt opened up the defence but first hooker Brits and then replacement Rhys Gill failed to capitalise. But Leicester's eagerness at the breakdown soon handed them another opportunity and Jackson's fourth penalty brought his side to within two points with less than ten minutes left in the game.
Saracens pressed forward in search of the lead and they were rewarded for their efforts when Leicester lock Louis Deacon was penalised for coming in from the side at the breakdown in the shadow of his own posts. Jackson stepped up and slotted the kick to give his side a one point lead with only three minutes left.
But there was more drama to come with a high tackle on replacement Hipkiss at the re-start drawing the latest penalty. The Tigers did not need it as the centre wriggled free when Saracens stopped and ran in for the match-winning try. Flood kicked the conversion to edge the Tigers towards victory but there was still time for one more foray into the Leicester 22 following another penalty. The kick went to the corner but Parling stole the lineout and with it the title.
Yellowstone National Park, Wyoming - June 28, 2020: Interpretive sign for Blood Geyser, a geothermal feature along the Artist Paint Point trail in the park
My first ever FA Sunday Cup match and a end to end pulsating encounter it was,family committments meant I could't stay for extra time but I'm guessing that was nothing to the Gym players and officials feeling after losing and having done a 300 mile round trip on a Sunday
The West Indian Day Parade (also known as the Labor Day Parade or the West Indian/Caribbean Carnival of New York City) had its September beginnings in 1947 and appeared in Harlem along Seventh Avenue starting on 110th Street (just north of Central Park.) It was organized by the Trinidad Carnival Pageant Committee.
For reasons unknown to us now, the permit for the parade in Harlem was revoked in 1964, but through the efforts of a group of people who were to eventually become the West Indian-American Day Carnival Association, the event was resurrection in 1969 in the heavily Caribbean area of Crown Heights, Brooklyn along Eastern Parkway. That tradition which features the pulsating, rhythmic music of the Caribbean (principally soca), flamboyantly colored masquerades where celebrants clamor to "play mas'", sensual and freewheeling dancing, representatives from innumerable Caribbean countries, thematic bands, displays of floats, as well as a host of politicians seeking recognition in the community, continues although the annual parade now occurs on Labor Day every year. The neighborhood composition has experienced a steady change through gentrification which makes it anybody's guess how long this tradition will remain here in Crown Heights. However, as of 2017, the tradition survives and is very much alive!
Nehru International School, Kaliapuram celebrated its 1st Annual Day – “NIS TARANGG” on 11th Feb., 2023 with pulsating events. The sequences of the events were woven around the theme of colours.
The bright occasion was graced by the eminent Chief Guest – Shri Ajay Bharatan, Inspector General of Police, CRPF, Central Training. The Guest of Honor for the day was Shri P Dhanapal – renowned Pattimandram Speaker, famous for his fiery debates in shows aired on popular Television Channels like Sun TV & Kalaignar TV.
The honorable members of the management of Nehru Group of Institutions – Adv. Dr. P. Krishnadas- Chairman & Managing Trustee of NGI; Dr. P. Krishnakumar CEO & Secretary of NGI, Dr. Chaitanya Krishnakumar Correspondent of Nehru International School & Nehru Kids Academy were present at the occasion. All students & their parents were invited for the celebrations.
Ensuing the Formal Welcome & Prayer, the event was officially opened when the dignitaries lit the lamp. The Chairman & Managing Trustee of Nehru Group of Institutions – Adv. Dr. P. Krishnadas presided over the event. The CEO & Secretary - Dr. P. Krishnakumar rendered the Special Address. The Correspondent – Dr. Chaitanya Krishnakumar felicitated the gathering. The Chief Guest & the Guest of Honor were invited to share their valuable words with the audience. Students who excelled in Academics, Co-curricular & Extra-curricular activities were honored with awards, presented to them by the respected dignitaries. The Principal of Nehru International School – Dr. Sunanda KC presented the Annual Report
The event was a kaleidoscope of colors, befitting the theme. The senior students welcomed the audience with a scintillating Welcome Dance. All students from KG to Grade 9, who gifted their vibrant participation to the occasion danced to the tunes of popular numbers, with colorful props. The choir group lent their mellifluous voice to melodious songs. The audience were enthralled with the presentation of the Romantic Comedy Drama – Pygmalion.
The exhilarating show was made more mesmerizing with the Grand Finale Event, when all the proud students of the school filled the stage with their presence, dancing together, as a display of unity. NIS TARANGG left unforgettable memories in the minds of all those who were present. It was a spectacular collage of dance & music that moved the hearts of the audience.
This is my first fully themed timelapse project. After a recent visit to New York and some timelapse work there, I decided on a recent return visit to make a New York timelapse that I felt truly (for me, anyway) represented the pulsating, electric vibe of NYC - 'ELECTRIC NEW YORK' was born.
On a day job trip to New York, I made sure I got a hotel with a view of Times Square: 'Park Central', New York. With the help of a Lenskirt (www.lenskirt.com) which I had delivered direct to the hotel (thanks again Aaron!) I was able to get the shots at 1:28, 1:38, 1:49 and 2:54 through my hotel window. Impossible without the Lenskirt - I know from bitter experience because I've had to drop shots in the past because of reflections.
All images were photographed using the technicolor 'cinestyle' picture profile (see the ungraded Flickr pictures below for the untreated images if you're interested in the before look of this picture profile). The technicolor profile shoots a very flat image, and technicolor's LUT can be applied in post. Since I edited this entire timelapse project in the 64-bit Avid Media Composer 6, this was not possible (since MC cannot import the LUT, unlike Avid DS), so I simply applied an 'S' curve in the master curves and made use of spot colour correction on many of the images to super saturate them in a way I personally feel represents what I had in mind when I conceived of this project.
On visting NYC, I felt the cars/taxis/busses/bikes were like electricity pulsating through the streets at the speed of light. So, in pre-planning I decided to use slightly longer shutter drags than in previous timelapses, as I knew this would give me the streaking, 'electricity' of light being painted in each frame by the car head and tail lights.
I had only 3 short nights to complete this project, 14th, 15th and 16th February 2012. It rained all evening on the last night, which has given me some nice shots, but meant trying to set up the camera in one hand and hold an umbrella over the lens with the other in the wind and rain. Without anyone to assist, this was severely taxing. Hats off to all 'lone timelapsers out there'!
The music used in the piece is by a German band called '7oop3d'. You can check out their other awesome work on their website here: 7oop3d.com/unmute/ Thanks guys!
The end credits also thank 'ERH' and 'guitarguy1985' for their police and animal sound effects which I've used in the audio mix. You can find their work on freesound.org.
I lived off coffee and grab and go hotdogs and sandwiches during the evenings making this, and as anyone who has timelapsed on either the Brooklyn or Manhattan Bridges will tell you - those things MOVE when traffic passes, so get ready to do stabilisation in post!
The grading and editing was all done in the evenings of 22nd and 23rd of February in my hotel room in Milan, and the final edit lock down was completed on a flight from Milan to London Heathrow on 24th February 2012.
This is, of course a low resolution 'web HD' H.264 but was produced in Avid DNxHD 185X
(www.avid.com/static/resources/US/documents/dnxhd.pdf)
It can also be made available in ProRes 444 and other flavours if required.
If you'd like to license any of this footage, then drop me a line at richardbentley2@gmail.com
Thanks so much for watching and, of course sharing!
Richard.
Watch this video on Vimeo. Video created by Richard Bentley.
In the Swiss Alps near the Italian border is a small valley town called Lostallo. For the 5th summer in a row Shankra festival made this place its home for a goa-psytrance festival.
Video from 2017 youtu.be/sGJAhJp605k
Downloads on Flickr are free for fiends & followers but do tell the people where you got the picture.
Scroll through photos to see a little of the movement as the rays pulsate through the sky & overhead.
Corona!
Continuing on with the 3rd explosive burst of activity for the night, including several coronas- 12.05pm -12.40 am
Great Aurora
6.15pm- May 11, 2024 to
6.00am- May 12, 2024
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Last night two of pop music's superpowers came together for a pulsating night at Docklands.
Just over 60,000 fans crammed into an expanded-capacity Etihad Stadium to witness U2 360, the Irish superstar band's bold achievement in stadium rock.
But before Bono and co landed, the American hip-hop superstar Jay-Z was entrusted with opening the monster double-bill.
He provided U2 with a winning mix of pop-cultural prestige and commercial supremacy few acts could, and he undoubtedly widened the night's demographic. His wife, singer-actress Beyonce, however, was not to be seen.
Jay-Z also delivered pop hits, none better than last year's epic Empire State of Mind, which drew the night's first big singalong.
Still, much of his set was a little jarring for this rock-loving crowd and last night was unequivocally about U2.
It's not difficult to get caught up in the logistics of the U2 production - the ''claw'' is 50 metres high and carries 590 tonnes of equipment. But the stage, while vast, feels uncluttered and gives the band access to the crowd on all sides.
Almost miraculously, U2 delivers a sense of intimacy.
The sight of the four mates from Dublin, who have endured for more than 30 years together, entering the packed stadium by walking through the crowd as David Bowie's Space Oddity blasts out is genuinely thrilling. It's a nod of gratitude to fans, an acknowledgment that the quartet and their followers have stuck tight for so long.
Yet Bono was the irrepressible star last night. He used the elongated catwalks to strut, shadow box and spider dance through early parts of the set.
The U2 classics - With or Without You, I Will Follow, Where the Streets Have No Name, Sunday Bloody Sunday, Beautiful Day and One - were delivered in elaborate fashion.
Recent tracks Get On Your Boots and Magnificent were helped in part by Bono namechecking in the intro St Kilda, Richmond and Fitzroy. The gesture to Melbourne was lapped up.
City of Blinding Lights and Vertigo were also given fresh energy.
Songs regularly segued into others in almost mash-up style. Bad borrowed from All I Want Is You. And even the rain held off despite dire forecasts.
As for the sound, it was excellent to fair depending on where you were in the stadium.
''We've been doing this a while,'' Bono said. ''But we're still figuring out so much about music … Keep coming to see us, we're still pilgrims.''
He then spoke of a strong connection the band has with Melbourne and launched into I Still Haven't Found What I'm Looking For.
The band also played two new, unreleased tracks.
Both were strident efforts demonstrating that these rock veterans retain their hunger.
As if anyone at Docklands needed to be reminded last night.
Review from The Age
www.theage.com.au/entertainment/music/u2-live-in-melbourn...