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Italien / Südtirol - Südtiroler Archäologiemuseum
Ötzi-Replicate
Ötzi-Replik
South Tyrol Museum of Archaeology (German: Südtiroler Archäologiemuseum; Italian: Museo archeologico dell'Alto Adige) is an archaeological museum in the city of Bolzano, South Tyrol, Italy. It is the home of the preserved body of Ötzi the Iceman.
The museum was specifically established in 1998 to house "Ötzi", a well-preserved natural mummy of a man from about 3300 BC (53 centuries ago). This is the world's oldest natural human mummy, a wet mummy, as opposed to mummies preserved by dry conditions in a desert environment. It has offered an unprecedented view of Chalcolithic (Copper Age) European culture. The world's oldest complete copper age axe was found among his extensive equipment which also comprised a rather complex fire lighting kit and a quiver loaded with twelve arrows, only two of which were finished, clothing and a flint knife complete with its sheath.
The body is held in a climate controlled chamber within the museum at a temperature of -6 Celsius and 98% humidity, replicating glacier conditions in which it was found. Along with original finds there are models, reconstructions and multimedia presentations showing Ötzi in the context of the early history of the southern Alpine region.
Converted from a 19th-century bank building, the museum covers the history and archaeology of the southern Alpine region from the Palaeolithic and Mesolithic (15,000 B.C.) up to 800 A.D. In 2006, the museum hosted an exhibition on the mummies of the Chachapoyas culture.
(Wikipedia)
Das Südtiroler Archäologiemuseum ist ein archäologisches Museum in Bozen (Südtirol). Das Museum ist der Ausstellungsort des „Mannes vom Tisenjoch“, besser bekannt als „Ötzi“. Es zieht zu allen Jahreszeiten zahlreiche Besucher an und gehört zu den führenden archäologischen Museen Italiens.
Neben der Gletschermumie „Ötzi“ nebst dessen Beifunden präsentiert das Museum bedeutende Funde aus dem Südtiroler Raum. Die ältesten Exponate stammen aus der Altsteinzeit, die jüngsten aus der Karolingerzeit. Modelle, Rekonstruktionen, Raumbilder, Videos und interaktive Multimediastationen geben einen Einblick in die frühe Vergangenheit des südlichen Alpenraumes. Die Ausstellungsräume sind diachronisch angeordnet. So befindet sich Ötzi und seine Zeit im ersten Stock, während sich die Fundstücke aus der römischen Antike und der Völkerwanderungszeit im dritten Stock befinden.
Von 12. August bis 15. November 2006 fand in dem Museum die Sonderausstellung Wolkenmenschen mit Mumien der Chachapoya statt. 2009 zeigte das Museum in der Sonderschau Mumien. Der Traum vom ewigen Leben konservierte Körper aus der ganzen Welt, darunter einbalsamierte ägyptische Mumien und Moorleichen. Anlässlich des 20-Jahr-Jubiläums des Ötzi-Fundes befasste sich die Sonderausstellung Ötzi20 vom 1. März 2011 bis 13. Januar 2013 mit der wissenschaftlichen Erforschung und dem Kultcharakter des Mannes aus dem Eis.
Das Gebäude in der Museumstraße, gegenüber dem Bozner Stadtmuseum gelegen, war als Sitz der Österreichischen (k.k.) Nationalbank kurz vor dem Ersten Weltkrieg errichtet worden. Von 1919 bis in die 1990er beherbergte es die Bozner Niederlassung der italienischen Nationalbank (Banca d’Italia). Das Museum wurde nach umfangreichen Sanierungsarbeiten 1998 eröffnet. Die Bozner Museumstraße, in der sich das Archäologiemuseum befindet, wurde nach dem 1905 eröffneten Bozner Stadtmuseum benannt, in dem sich vor der Eröffnung des Archäologiemuseums ein Teil der Ausstellungsstücke zur Urgeschichte befand. Die restlichen Ausstellungsstücke wurden aus ganz Südtirol zusammengetragen.
Das Museum ist eine eigenständige Institution innerhalb der Südtiroler Landesmuseen; zuvor war es mit dem Naturmuseum Südtirol zusammengeschlossen. Direktorin des Museums ist Angelika Fleckinger.
(Wikipedia)
I always thought of this shot, with a wide angle lens, I always wanted to replicate this shot (www.flickr.com/photos/jakelines/6820565862/in/photostream) with that i captured with a 18-55 lens, and when i got my 10-20 sigma, its just been a whole of a wide looking world looking threw this lens, Heres one from this arvo, proberly the best and closest im going to get to that shot i pictured in my little head. Press ( L ) and view in black
I chose the picture of lallivy because I have been dying to do a shot with glasses. However ......... I only had 4 matching glasses after the accident with the glasses and blue bottles, lol. I only have a point and shoot and no flash except the one on the camera which wouldn't have worked at all. So there I was huddled up over the glasses on a piece of glass with black material draped all around the glasses, I attempted to recreate something approximating Lallivy's photo.
Actually I am not too unhappy with it (except for the grainy feel - not sure why that is! and the fact that I couldn't find a border to match the original!)
This was a huge challenge, and I must say that I enjoyed it, so thanks for the stretch!
(Now how do you get a copy of the original in here?? Anyone know??)
ODC2 - Attempt to replicate something that has been on ODC Explore!!
Well I did make the attempt, lol.
62/365 Days in Colour
Thanks for the suggestion Karenoc11 - I have joined Competition Corner & have entered this pic in the current reflections topic!
42/111 Pictures in 2011 - Glass
Tony's Daily Topic 21 December - Mirrors or Mirrored
Replicating (almost) the shot used by the NRM to publicise the visit of Flying Scotsman to the Strathspey Railway, A3 Pacific No.60103 Flying Scotsman is pictured in the same location as Ivatt Class 2 No.46512. www.flickr.com/photos/60956647@N02/52380641842/in/datepos...
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!
This Matchbox model replicates in 1:110th scale an AEC Militant MK1 10 ton 6X6 lorry with General Service body. The Matchbox miniature was number 62a in the 1-75 series and was issued in 1959 and deleted in 1963.
The model in the images is one of my childhood treasures it isn’t mint and I never had the box because it was a gift from one of the school’s dinner ladies Mrs Wagstaff way back in the day.
“The Eye Moment photos by Nolan H. Rhodes”
“Theeyeofthemoment21@gmail.com”
“www.flickr.com/photos/the_eye_of_the_moment”
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws.”
Copyright © Charles Keely, All Rights Reserved. You may not use, replicate, manipulate, redistribute, or modify this image without my express consent.
AKA: Microbus, Transporter, Bus, Combi
I built this VW for the LUGNuts 100th challenge. I chose #74 and was assigned to 'Steampunk-ify any Fiat 500 or VW Microbus.'
www.flickr.com/groups/lugnuts/discuss/72157664118792946/
I chose to go with the microbus because I thought it leant itself very well to the Wild West. Back in the 1800s, countless people traveled westward in wagons. For the steampunk version of this story, I imagined legions of microbuses traveling cross-country.
I based my model off of the camper variants, such as the Campmobile:
aacalibrary.tumblr.com/post/90557981962/circa-1966
That variant had a pop-up fiberglas top, and I attempted to replicate this with hero factory parts and minifigure capes.
It does have an interior, albeit the space is very tight. The front of the car has dark red "velvet" seats, a steering wheel, and gauges. There are also seats and a table within the main body of the vehicle.
The display diorama for the vehicle was exactly how I envisioned a steampunk VW would be used.
You might notice a familiar face and one of his new toys. ;-) There is also a hovering steam-powered droid named Sprocket.
The cactus design is based off the ones from the LEGO movie, but I tried to add my own unique touch with some flowering cacti.
Thanks to LUGNuts, this is my first official steampunk MOC. What a fun challenge!
Acrylic marker and ink on paper 4.75" x 6.75" February 19, 2025. www.saatchiart.com/en-jp/art/Drawing-Self-replicating-Sur...
One of the best ways to recreate the past is through scale replication—or model building. It's almost never possible to fully replicate anything in miniature although some efforts certainly come closer than others. This is a 1/87th HO scale model of the Great Northern's Central Avenue interlocking tower. This was not a kit. It's almost entirely scratch-built. To achieve this level of sincerity the builder, Steve Lorenz, made use of scale plans that I made from field measurements of the actual building. After the real tower was abandoned Steve and I measured it from top to bottom. Each model part was made of styrene and copied as closely as possible from the plans, and aided with the use of several dozen detail photographs showing the various sections of the building. This included the doors, windows, stairs, trim, and so forth.
Please visit my website at www.TwinPortsRailHistory.com or read some of my stories about railroading in Duluth-Superior at www.ZenithCity.com.
To join my once-a-month e-Newsletter use this link to subscribe and you can unsubscribe at any time with just one click: visitor.r20.constantcontact.com/manage/optin?v=001LTYbgqL...
For Our Daily Challenge Monday 12th September 2011 ~ Attempt to replicate something that has been on ODC Explore.
This is my attempt to replicate gary's images photo posted February 1, 2011 which was Explored. I want everyone to know that somebody owes me for a good pair of reading glasses. I had to bend and twist these to try to replicate gary's shot. He must have a crooked head.
In replicating this fifth-gen stealth fighter, I was aiming for:
– Smooth: nearly studless in form.
– Integrated: packing in a host of features.
– Fresh: incorporating new pieces and techniques.
and of course, purist! (at least, for now; I may experiment with designing some Marine Corps liveries on waterslide decals for mere aesthetic decoration that denotes the squadron affiliation…)
The 1:40 scale replica includes:
– Opening cockpit that holds pilot, control panel, and joystick
– Hidden weapon bays in fuselage for stealth missions
– Optional exterior loadout for air-to-ground attacks
– Retracting landing gear that supports the model
– Opening flaps, rotating fan blades, and tilting vector nozzle for VTOL
– Stable Technic display stand and brick-built name plaque.
This is the first MOC I’ve finished in about five years (during which I completed my university degree, got my full-time career job, moved out, got married, and a few other things), after working on it off-and-on for at least three years. [The real-life aircraft has suffered from its own extensive delays in design / production, so I guess it could be worse where my LEGO one is concerned. XD]
A big thank-you to everyone who has inspired me along the way, including special acknowledgements to AFOL friends like the Chiles family and Eli Willsea for helping rekindle my joy in the hobby; Brickmania, for showing me a few new hinge techniques that I incorporated during these last few months of the design process; and especially my lovely wife Natalie who, bless her heart, has allowed the dining room of our tiny apartment to serve as my building studio and encouraged me to use it more often as such!
Let me know what you guys think!
All done. So I'm not trying to replicate the furnishing of the original TV set, I'll leave that to the buyer, but wanted to test it out.............Overall I'm super pleased with how it came out, my handrail is a little bumpy here and there, but I wasn't making any significant improvements after redoing it 4 times so this is the end result. I consider it a good sign when I want to keep a commission for myself as I am my harshest critic.
Replicated in the early 90s by Durham Constabularly to the exact spec of their patrol cars in the 70s.
The vehicle details for EHN 91J are:
Date of Liability 01 06 2014
Date of First Registration 18 08 1970
Year of Manufacture 1970
Cylinder Capacity (cc) 1798cc
CO₂ Emissions Not Available
Fuel Type PETROL
Export Marker N
Vehicle Status Licence Due to Expire
Vehicle Colour BLACK
Pride of Longbridge 2014.
An artist spends time in front of a large painting to reproduce a classic piece of artwork, oblivious to the other museum visitors passing through this hall.
Olympus OM-D E-M1 with M. Zuiko 12-40 f/2.8
Phew.
By request, here’s a quick guide to replicating this on Unix. The one nonstandard tool you’ll need is GDAL, which most package managers know about. You’ll also want something that works with images; imagemagick is fine. Also, we’ll be doing a lot of bulk i/o, so if one of your drives is faster, do this project on it and save several minutes of looking at progress meters. Watch out for Flickr mangling my sh, and tweet at me if you spot bugs.
Part 1: The elevation data
We’ll use CGIAR’s 5°×5° dataset, which is overkill, but that’s how we do. You can use their handy Google Earth layer to find the data cells we need, which turn out to be column 12, rows 2–4 inclusive; 13, rows 2–4; 14, rows 2–4; and 15, row 4. Copying one of the GeoTIFF download links from the KML’s popup, we find we can get them like this:
$ curl -O 'http://srtm.geog.kcl.ac.uk/portal/srtm41/srtm_data_geotiff/srtm_{12_02,12_03,12_04,13_02,13_03,13_04,14_02,14_03,14_04,15_04}.zip'
If you’re willing to give up your data’s chain of custody, you can do a web search for one of the file names and find other sources, some of them faster than KCL.
Unzip the data. You can remove the *.txt, *.hdr, and *.tfw files, so we’re left with 10 GeoTIFFs and nothing else. We merge them into a single GeoTIFF:
$ gdal_merge.py srtm*.tif -o main.tiff
Mine is 843892 kB and has a $(shasum) of 0a3b92fb5ccd60951df6c459aadd167bc397d425.
Part 2: The cutline
If you find a better way of doing this step, leave a comment, because it’s ridiculous. The version presented here is several hours faster than what I originally did, but no less kludgy.
We want the data in MVBCRB. Unfortunately, it’s not an outline (a single ordered sequence of points), it’s a series of several dozen outline segments. Geometrically, it’s a handful of curves in no particular order that happen to share endpoints. But sharing endpoints means we can join them into a single polygon if we’re willing to suffer a little.
Grab the KML version of this that André Coleman put up. It’s relatively cleaned up and saves us some preparation steps:
$ curl -O webpages.charter.net/zeeland/crws.kml
If you look in there (watch out, it’s almost a megabyte), you’ll see that the overall polygon is defined as a bunch of LineString elements, and that the coordinates of these elements happen to be the only lines that start with “-”. So we can extract them like this:
$ grep '^-' crws.kml > linestrings
Super gross but super effective. Now the linestrings file has 65 lines containing point series in the format “lat,lon,ele ”*. Take this and run it like this:
$ python linesplice.py linestrings > cutline.kml
This will join the 65 individual lines into a single line based on shared endpoints. It’s purpose-built around the perfect overlaps of this dataset, so if you use it on anything else, do some fuzzy matching or risk an infinite loop.
Part 3: Rendering
We’ll use gdalwarp to do three important things at once: (1) reproject the data to Oregon Lambert (EPSG 2993), a fairly conservative choice; (2) make the file smaller, because right now it’s 24000×18000 and that’s ridiculous, and (3) mask out everything outside the Columbia River Basin. (I won’t describe all the minor flags I pass the gdal tools; look them up if curious.)
$ gdalwarp -r cubicspline -multi -t_srs EPSG:2993 -ts 8000 0 -cutline cutline.kml main.tiff proj.tiff
We’re on the home stretch. Now let’s do a hillshade image (sun azumith of 200°, vertical exaggeration of 3×):
$ gdaldem hillshade -compute_edges -az 200 -z 3 proj.tiff shade.tiff
This is the first thing we’ve made that’s actually intelligible to look at, so pull it up. It should look correct but bland.
Now some hypsometric tints – Leonardo da Vinci’s most important invention. Make a text file called, say, height.txt and put something like this in it:
3000 255 255 255
1500 10 80 20
500 150 150 100
1 20 100 80
0 0 0 0
The first column is an elevation (in meters) and the next three are the R, G, and B of the color you want that elevation to be. It interpolates smoothly for you. I picked this palette to suggest general land use: floodplain-type stuff down low, then amber waves of grain, woods in the hills, and rock and snow up high. Tinkering with these colors is a lot of fun. Now we make a hypsometry layer:
$ gdaldem color-relief proj.tiff height.txt color.tiff
Now merge the files. You can do fancy stuff with overlay compositing, but a simple average looks pretty good:
$ convert -average shade.tiff color.tiff merged.tiff
Convert will kvetch about TIFF tags it doesn’t recognize, which is fine; we no longer need the georeference data. You might also want to crop the image a bit, since it still reaches the bounding box of all the topo data we downloaded:
$ convert -trim merged.tiff trimmed.tiff
You now have something that differs only in incidental ways like color choice from the above image.
The main things I would do to improve this workflow are (1) find or make a better cutline, (2) handle null data better (look at the mouth of the Columbia – ugh), and (3) cut after hillshading, so the edge of the watershed doesn’t get shading.
If you have improvements – those or others – please comment.
"Let's Rock!"
"To boulder go, where no Horta has gone before!!"
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A very old costume that I did for an Austrek (local Star Trek club) Christmas party back in the 1980s, definitely after 1986, perhaps '87 or '88.
The inspiration was the sentient, silicon based alien that tunnelled its way through asteroids in one of my favourite classic Trek episodes "The Devil In The Dark".
Janos Prohaska designed and wore it originally in the show. Prohaska was a plucky monster and animal costume trooper and performed as a bear, gorilla, giant Bloop (Lost In Space!) and whatnot in a huge number of television shows and movies. Tragically, he was killed in a plane crash on his way to a television shoot in 1974.
My version of the Horta was built out of heavy cloth coated with paint, latex, expanding foam and other lightweight 'rubble' designed to give the rocky, mineralised look of the Horta skin. I used lots of metallic paints as well to detail it. The trailing tentacles were made from a mixture of sawdust filled cloth tubes and unravelled rope.
The key to the mobility of the costume was a wheeled trolley that I knelt upon. Resting my chest on an elevated platform I was able to use my hands to 'paddle' around quite quickly, mimicking the original performer's characteristic rapid pivots and directional shifts. The costume rested on my back on foam blocks.
I remember that I glued Sergeant's stripes to the outside and a little nametag that read "SGT. ROCK. SAPPER. FEDERAL MARINE CORPS. U.S.S THUNDERCHILD". I figured that the Hortas would be a very useful Combat Engineers if they ever joined the Federation. I also had Aliens Colonial Marine badges on it, so the costume must date after 1986, probably 1987 or '88. Since the Hortas tunnelled by spraying concentrated rock dissolving acid I also reckon they would eat 'Bugs' for breakfast! ("Okay, so you've got acid for blood? That don't impress me much....")
As with most of my cossies I had little bits of 'business' to fill out the performance. Gold painted toy balls could be rolled out from beneath the costume, replicating the Horta eggs seen in the episode. I also had a prop broadsword that I could raise by the blade through a slit, so I could pretend to be the Stone that King Arthur's sword was embedded in....
I think this may very well have been the costume that started my silly tradition of always getting onto the dance floor no matter what I was encumbered in.
Certainly, it was an easy one to rock 'n roll in.
As with my Babylon Five Ambassador Kosh costume, this outfit was also self supporting, so I could get out of it and walk off and people would sometimes assume I was still inside and chat happily away to the empty suit.
A quick but fun build, though I don't think I ever wore the costume more than once.
Visibility was quite limited, so I remember spending most of the party looking at people's shoes. Socks meet Rocks. Yes, it was pretty warm under there!
I don't know who took this particular picture. Could be one by my partner, Gail Adams.
Thanks, whoever done it!
Replicating the efforts of Stratford Depot, the GreaterAnglia 90 has been decorated with Union Flag, SIlver Roof and named 'Diamond Jubilee'.
via Tumblr.
Handcrafted by lithic (stone) artifact replication specialist, Jay Valente, this stone knife exemplifies stone-age craftsmanship and utility. Like all of his lithic work, this is a premium high-grade museum quality replica and there was special attention given to historical accuracy and authenticity in its creation. Jay’s work has been featured for sale in the largest Native American museum in the world and both his lithic replicas and his lithic artifact consultation services have been touted by esteemed archaeologists and historical preservation offices alike.
Modeled after Native American stone blades and spear points of the paleo and time periods (about 12,000 to 9,000 years before present), this work utilizes a random flaking pattern and lancolate fluted “clovis” style.
From conception to completion, Jay traces the footsteps and actions of the ancient people. He selected a high quality stone of novaculite and brought it home to be cooked under a wood fire for several days. Unlike other stone knives or stone arrowheads you might find on eBay or Etsy, this is not a mass produced, machine cut or drilled product. It is entirely handcrafted. The raw stone was then flintknapped and pressure flaked with a deer antler and rock hammerstone using traditional primitive techniques and methods. The stone blade was then hafted onto an azalea branch. The novaculite blade is secured to the wooden handle with elk gut cordage and a pine pitch glue recipe.
This knife represents a rare feat of flintknapping skill. Using quality stone and primitive, traditional flintknapping methods he crafted this novaculite stone knife with historical considerations and authenticity of process in mind.
For the discerning collector or primitive technology enthusiast, look no further for a high-grade stone-age replica knife. This historical reproduction makes for a stunning educational or decorative display, however, it is sharp and sturdy enough to be used as well; perhaps as a stone skinning knife, or a stone survival bushcraft knife.
#crafts #paleoindian #arrowheads #knives #spears #ancientknowledge #chert #novaculite #flintknapping ift.tt/2f8E8Oq
Not wishing to bore you all but many of you will already be aware that this year [the very end of May] we celebrate 40 years of married life.
Ten years after we married I was posted overseas to Gibraltar [just before the Falklands War broke out as it happens which is why I wasn't able to go down that way although prior to going to Gibraltar I had been drafted to HMS Antelope. You may recall that she was one of the ships that went down in the South Atlantic.....lucky for me but sadly not for some of them]. Anyway, the left hand image above was taken at the 1st mess dinner we attended and it was customary to have your photograph taken. We have both always liked this one and it does, of course, bring back some very happy memories for us. I figured that as a part of our Ruby Wedding celebrations it might be fun to try and replicate that photograph taken 30 years ago and here is the result of that on the right. Alas, we no longer have the clothes we wore back then [ except for the bow tie I'm wearing which is the same one!!] but we've had a pretty good stab at wearing something from our current wardrobes!!
How lucky we are to have such wonderful processing software available to us that allowed me to combine the new photograph with the background of the old one. We had great fun this evening getting dressed up and trying to get in the same pose that we did all those years ago and I've had great fun burning the midnight oil doing all the processing!!!! LOL I reckon I could have kept on working on it but there came a time when I had to say enough was enough.
Anyway I thought it might be nice to share the fruits of our labours with everyone and hope that you derive some pleasure from it as indeed we have.
Thanks in advance of any views, comments and/or faves, your time taken to do that is so very much appreciated. :>)
Materials: Wilting flowers from valentine's day, vase, my bed, and wall background.
Idea: I used flowers and techniques to try to replicate a still life painting by Rachel Ruysch.
Process: I used lights held above the flowers to isolate them from the grey background, making it look black like in the painting
Mirror play on a public plaza at the new Bay Meadows mixed use office and residential neighborhood that grew where the horse race track once stood in San Mateo, CA.
Shot with Kodak Retina IIIc folding rangefinder and Schneider-Kreuznach Xenon 50mm f/2 lens at f/16, 1/250sec on Kodak TMax ISO-400 B&W film expired 10/2014, developed in 2018.
Replicating the shot from Matt Black's Poverty in America series. Same corner and same pose, with my wife graciously agreeing to model for me. El Paso, TX, USA.
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”
“The Eye Moment photos by Nolan H. Rhodes”
nrhodesphotos@yahoo.com
Replicating the scene out of the brilliant movie Love, Actually, in which a young Andrew Lincoln serenades an equally young Keira Knightley with giant cue cards. In this case I have used insults from a couple of Shakespeare's plays as the messages, although they are very unlikely to woo the fair hand of the damsel.
We're Here looks at I believe in holidays & other calendrical observances.